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WIDE ANGLE LENSES • CYPRESS GARDENS INVITES

BUILD A LIGHT BOOM

• • • • AMERICA'S FOREMOST CAMERAMEN PREFER THE BOLEX H-16

Bill Daniels

1948 A cademy A ward Winner for
Cinematography {B&W)on"The Naked City"

uses the Bolex H-16

NEW! BOLEX EYE-LEVEL FOCUS!

All new Bolex H-16 and H x cameras
now include this fine precision instru-
ment that gives you critical visual focus
through the lens, from behind the cam-
era . . . and at no increase in price!

Here's why BILL DANIELS
prefers the BOLEX H-16

Automatic Threading: No need to use ex-
pensive magazine-loaded films. Bolex auto-
matic threading eliminates all danger of
imperfect threading.

Turret Head (or Three Lenses: Accommo-
dates standard "A" or "C" type mounts.
Tri-focal Tubular Viewfinder: With exact
fields for 15mm, l"and 3" lenses as standard
equipment, viewfinder provides for absolute
correction of parallax down to 18 inches.
Invaluable for title and closeup work.
Critical Visual Focusing: Groundglass fo-
cusing for instant and accurate focus
through the lejis; magnifies image 10 diam-
eters.

Focal Plane Type Shutter: Rotating disc,
lild" opening, revolves only 118/1000 of an
inch from emulsion side of film preventing
linear distortion and giving faultless regis-
tration on the film. This is a Bolex exclusive.
Frame Counter: Accurate flame counters
add or subtract

Shown here are five enlarged frames taken from a Home Movie sequence
made recently by Bill Daniels. Such fine enlargements are possible— even on paper
—because the pictures were taken with a Bolex 11-10. In combination with its
Kern-Paillard* Lenses, the exclusive shutter mechanism of the Bolex H-l(i as-
sures faultless registration of the image on the film— in color or black-and-white.

The BOLEX H-16

Less lens, $282. SO

no led. tax

Footage Counter:

lately in forward
Audible Footage
click with passage
Variable Speeds:

•ttomatically.
Adds and subtracts accu-
inil reverse.

Indicator: You lieur a
of each 10 inches of film.

Speed range is 8, 16, 21,
32, til and all intermediate. The governor
maintains constant speed with the closest
tolerance.

Hand Crank Operation: Either forward or
reverse hand cranking is standard equip-
ment. Speed is governor-controlled and any
amount of film can be cranked in either di-
rection. Dissolves, fades, tricks are easy.
Single Frame Exposures: lakes stills or
animated sequences at 1/20 to 1/25 second
exposures, or with "time" exposure.
Pressure Plate: Maintains firm, precise pres-
sure on film, insuring rock-steady pictures.
Single Claw Operation: Designed to permit
adaptation for use with sound film.

Thr Bolex is a precision instrument built like
the finest Swiss natch bij Swiss craftsmen.

PROFESSIONALS and advanced amateurs
prefer the Bolex H-16 because it gives
them every advantage they demand— yet per-
mits the ease oj operation that use for Home
Movies requires.

Created and produced admittedly for the
one movie maker in '.CIO who can appreciate
the finest, the Bolex H-16 is now the choice
of exacting 16mm Home Movie cameramen
all over the world. Swiss precision engineer-
ing has designed, in the H-16, a faultless in-
strument which you can depend upon to get
the picture every time ... in every climate and
under all conditions.

Drop into your camera dealer's today. Let
him show you the many professional effects
you can get with the H-16 and without extra

equipment or gadgets. Handle it. sight it. check
its simplicity of operation. You'll know why
America's foremost cameramen prefer the
Bolex H-16 for their Home Movies.

KERN-PAILLARD LENSES are respected through-
out the world for their consistent high quality.
Available in Switar 1" f/1.4, Pizar 1" f/1.5,

Vvar 15mm f/2.8 and Vvar 3" f/2.5.

Xote : The Switar 1" f/l.l is as fine

as any speed lens ever made for the

16mm field.

A PAILLARD
PRODUCT

MOTION
PICTURE
CAMERAS

WRITE TODAY for descriptive f 'older MM-150 on camera and lenses to:
PAILLARD PRODUCTS, INC., 265 MADISON AVENUE, NEW YORK 16, N. Y.

Bolex Cameras are sold and serviced through leading camera dealers everywhere.

^JC\B 226615

i ■■■■

MOVIE MAKERS

Make

Your

hnfwiit

IVIUVI

interesting

exciting

finished

IN HOME MOVIES

the Heart of a
perfect picture is a V1

Kern-Paillard lens

Standard of Quality and Precision the
World Over. Kern-Paillard Cine lenses
are designed and constructed by Swiss
precision craftsmen . . . there is nothing
finer in the home movie field.

-See

The back cover
of this issue of
MOVIE MAKERS

Every Kern-Paillard lens is fully color corrected, specially coated, in focusing
mount. Built-in lens shade, except the 16mm telephoto. Prices include Federal tax.

FOR BOLEX H-16 CAMERA
Switar 1" f/1.4 $183.75. Finest speed lens for
16mm cameras. Cuts sharp from corner to cor-
ner of frame. Automatic depth of focus scale,
micrometer click-stops.

The NEW Pizar 1" f/1.5 $97.00 (Introductory
price). Sister to the Switar with the same superb
optical characteristics. Corrected to f/1.5, with-
out depth of focus scale. Equals the Switar in all
other respects.

Tver 15mm f/2.8 (Wide Angle) $78.75. Gives
excellent definition even at full aperture; COCi
greater field than 1" lenses.

Yvar 3" f/2.5 $128.34. Fastest 3" telephoto lens.
"C" Mount for Bolex and other cameras, f/2.5
aperture gives excellent results under adverse
light conditions. Micrometer click-stops.

FOR BOLEX H-8 and other CAMERAS

Switar Vi" f/1.5 $160.42. Finest and fastest
8mm speed lens made. It gives the 8mm user a
quality picture never deemed possible on 8mm
film, in color or black and white. Has automatic
depth of focus scale, micrometer click-stops.
Yvar 25mm f/2.5 (Telephoto) $68.25. A pre
cisely built medium telephoto lens with excep-
tional speed. Excellent for outdoor sports and
indoor portrait work.

Yvar 36mm f/2.8 (Telephoto) $89.54. A longer
range telephoto for close-ups of distant subjects.
Takes pictures that rival lGmm telephoto shots
in detail and quality.

Yvar l/j" f/2.8 (For Bolex L-8 only) $49.55.

Especially designed for 8mm use. Precision-built,
its special optical system insures pin-point detail.

Ask your photo dealer to explain details on Kern-Paillard
lenses which are designed especially for the Bolex camera.

Kern-Paillard precision

lenses

PAILLARD PRODUCTS, Inc., 265 Madison Avenue, New York 16, N. Y.

NOW

SHOOT IT IN SOUND!

with the ALL-HEW

JANUARY 1950

EM333'

-V,

otce

16 mm SOUND-ON-FILM
HOME MOVIE CAMERA

jPQrQQ at your photo Dealer,
Ou 0 — or write to us for free
descriptive Folder telling how to shoot
Home Movies with Hollywood style
sound-tracks, for exactly the same film
cost as silent movies! You can show
your own "Cine-Voice" talking pictures
on any make of 16 mm sound-on-
film projector.

Record SOUHD -TRACK & Picture. . .
Project SOUHD & Picture!

COMPLETE OUTFIT. ..*695°°

Including "Cine Voice" Sound Camera
with high lidelily Microphone, Amplifier.
Headphones, all Batteries and Tubes,
Carrying Case, Instructions. Camera
uses'C" Mount Lenses (not furnished)
same as most popular 16 mm Cameras.

RCA LICENSED G?**^^ GUARANTEED ONE YEAR

BERNDT-BACH,Inc.

7383 Beverly Blvd., Los Angeles 36, Calif.

MANUFACTURERS OF SOUND-ON-FILM
RECORDING EQUIPMENT SINCE 1931

THE MAGAZINE FOR
8mm & 16mm FILMERS
Published Every Month by
AMATEUR CINEMA LEAGUE

The reader writes

High hickory

Adventures in animation

Now, sound on film!

Keeping sound in sync

Using the wide angle lens

Movies in color: 2

Build your own boom

Cypress Gardens invites

Hints from Hollywood

The clinic

News of the industry

Closeups

Late releases

Titles that talk

Clubs

ACL members urged to name candidates

8mm. on the march

January
1950

O. L. Tapp, ACL 11

Glen H. Turner, ACL 12

Boynton W. Roberts 14

Martin Weledniger 1 5

James W. Moore, ACL 16

Bruce Engels, ACL 19

Robert J. Eastman 22

Aids for your filming 25

Reports on products 26

Ten Best contest report 28

New 8mm. and 16mm. films 32

People, plans and programs 36

37
Editorial 38

Cover photograph from Florida Cypress Gardens Assoc.

DON CHARBONNEAU
Consultant Editor

JAMES W. MOORE
Editor

JAMES YOUNG
Advertising Manager

ANNE YOUNG
Production Editor

Vol. 25, No. 1. Published monthly in New York, N. Y., by Amateur Cinema
League, Inc. Subscription rates: S3. 00 a year, postpaid, in the United States and
Possessions and in Argentina, Bolivia, Brazil, Chile, Colombia, Costa Rica,
Cuba, Dominican Republic, Ecuador, El Salvador, Guatemala, Haiti, Honduras,
Mexico, Nicaragua, Panama, Paraguay, Peru, Spain and Colonies, Uruguay and
Venezuela; $3.50 a year, postpaid, in Canada, Labrador and Newfoundland;
other countries $4.00 a year, postpaid; to members of Amateur Cinema League,
Inc. $2.00 a year, postpaid; single copies 250 (in U.S.A.). On sale afphoto-
graphic dealers everywhere. Entered as second class matter, August/3, 1927,
at the Post Office at New York, N. Y., under act of March 3, 1879/Copyright,
1950, by Amateur Cinema League, Inc. Editorial and Publication Office: 420
Lexington Avenue, New York 17, N. Y., U.S.A. Telephone LExington 2-0270.
West Coast Representative: Edmund J. Kerr, 6605 Hollywood Boulevard, Los
Angeles 28, Calif. Telephone HEmpstead 3171. Advertising rates on application.
Forms close on 10th of preceding month.

CHANGE OF ADDRESS: a change of address must reach us at least by the
twelfth of the month preceding the publication of the number of MOVIE
MAKERS with which it is to take effect.

MOVIE MAKERS

Jg_

January is

CASTLE FILM

Month!

CASTLE FILMS

Greater New January

MOVIES!

Never before have we offered more
outstanding movies for the enjoyment
of all 8mm-16mm projector owners !

HOPALONG CASSIDY

in CASTLE FILMS

SENSATIONAL! IN 3 GREAT SUBJECTS!

'THREE on a TRAIL' 'BAR 20 RIDES AGAIN' 'HEART of the WEST'

0 Hopalong daringly(5) Hopalong's secret sig- (3) Hopalong's nerve turns
bombs an outlaw gang nal leads cattlemen to stampeding cattle, wip-
into submission! hideout of bad men ! ing out rustlers!

ABBOTT and COSTELLO

in "HIGH FLYERS"

0 Bud and Lou in hysterical plane antics, 10,000 feet up, mak-
ing the "wild blue" wilder! Packed with thrills and laughs!

AN EXCITING SPORT MOVIE!

SPORT THRILLS of the YEAR

® Thrilling, red-hot moments from variety of nerve-tingling
sports including Kentucky Derby, Pendleton Rodeo, Army-
Navy Game ; many others !

FUSS

3 CARTOON LAUGH RIOTS with

WOODY WOODPECKER

'DIPPY DIPLOMAT' 'THE LOOSE NUT' 'WOODY DINES OUT'

(6) Woody in wild plot to 0 Woody golfs in wet ce- (g) Woody and villainous
steal free lunch ! Side- ment with laugh-filled cat in hilarious rough-
splitting !

to all projector owners! New
1950 Deluxe Castle Films'
catalogue describing a great
variety of home movies.

SEND THIS. COUPON TODAY!

CASTLE FILMS

division of U/vTr^TvJo**-0 Fll*s inc.

1445 PARK AVE. 542 S. DEARBORN 604 MONTGOMERY
NEW YORK 29 CHICAGO 5 SAN FRANCISCO 11

action and gags !

house fun !

DON'T
DELAY!

See your Photo
Dealer or send
him this handy
order form

TODAY!

k'"" ORDER FORM

Send Film Numbers in size and length checked

8M
M 50 ft. $1.75

Complete $5.50

16 SI Comp-

100 ft. $2.75

.75

Sound $17.50

Wi Name

Address

City Zone .... State

Remittance Enclosed □ Send me Castle Films' FREE De Luxe Catalog □

JANUARY 1950

^ffiofo

Data Book/

?! Tells you More
Costs you Less

Forget the exposure index?
Or the guide number?
What aperture change
for this close-up?
What's the filter factor?

Have all the answers at"

your fingertips! Get your

new 1950 General Electric Photo Data

Book today. It's so full of handy facts,

valuable data from all manufacturers

... in quick reference form.

Here's a partial table of contents: —

Exposure Indexes

Filter Factors

Flash and Flood Guide Numbers

Lens Formulas

Metered-Flash (sun-plus-flash) Exposure Table

Shutter Speeds of Movie Cameras

Triangle Lighting

Darkroom Information

Aperture Correction for Close-ups

Your Meter in the Darkroom

Exposure Ratios in Copying and Enlarging

Hyperfocal Distance Chart

Speeds of Photographic Papers

Projection Distance Data

Weights and Measures

Metric Equivalents

Glossary of Photographic Terms

— and much morel
In the field or in the darkroom, you'll
find no handier, no more complete
reference guide . . . for only 50<S

At your dealer's, in the new attractive

counter display.
General Electric Co., Schenectady 5, N. Y.

GENERAL® ELECTRIC

This department has been added to Movie Makers
because you, the reader, want it. We welcome it
to our columns. This is your place to sound off.
Send us your comments, complaints or compli-
ments. Address: The Reader Writes, Movie
Makers, 420 Lexington Ave., New York 17, N. Y.

SURPRISE IS A MILD WORD!

Dear Movie Makers: What to say
next is somewhat of a puzzle. Surprise
is a mild word! After all the letters
and stuff, I was sort of hoping for a
Ten Best. But hitting the jackpot the
first time out was a most welcome sur-
prise. It only goes to show that there
is no harm in trying.

And so thanks for everything, and
more power to you in furthering the
cause and improving the quality of
amateur movies.

Glen H. Turner, ACL
Springville, Utah

THRILLED NO END

Dear ACL: I was thrilled no end to
read your letter advising me that my
Jones Beach had been chosen as one of
the Ten Best Films of 1949! You know
how much it means to me to be honored
by ACL, especially this year when I
understand the competition was very
keen.

George Mesaros, FACL
Long Beach, N. Y.

A GREAT HONOR

Dear Mr. Moore: It is a great honor
to be writing to you and the League
as a Ten Best winner. May I take this
opportunity to thank you all for be-
stowing this generous approval upon
Escape.

Warren S. Doremtjs, ACL
Rochester, N. Y.

TO PUT IT MILDLY

Gentlemen: Thank you very much for
your kind letter of November 25 in
which you and the staff of Movie
Makers congratulated me for having
my film, The Witch Cat, chosen as one
of the Ten Best Amateur Films of
1949.

To tell you that I am exceedingly
proud of the certificate and for what
it stands is to put it mildly.

William A. Thomas, ACL
Buffalo, N. Y.

FIRST EVER ENTERED

Dear Mr. Moore: Vic Watson and I
wish to thank you for the recognition
you gave our film, A Christmas Story,
in your annual contest. We are espe-
cially pleased as this is the first film

either Mr. Watson or I have ever en-
tered in your competition.

Bert Seckendorf, ACL
Brooklyn, N. Y.

VERY HAPPY

Dear Movie Makers: I was very happy
when I received your good news that
my motion picture, Her Heart's Desire,
had been awarded Honorable Mention
in the selection of the Ten Best Ama-
teur Films of 1949.

Please accept my sincere thanks for
this very kind recognition of my en-
deavor to produce a good film. I hope
that my next picture, on which I am
already working, will turn out still bet-
ter.

Othon Goetz, ACL
Chicago, 111.

NOT DOWN TO EARTH

Dear ACL: I can't tell you how de-
lighted I was to receive Mr. Moore's
letter stating that Caledonian Chron-
icle had been awarded Honorable Men-
tion in the Ten Best contest. I'm not
down to earth yet!

Esther Cooke, ACL
Albany, N. Y.

WILL TRY AGAIN

Dear Movie Makers: Although our
film, Barbecue, did not make top hon-
ors in either the Ten Best or Honor-
able Mention categories, we felt highly
honored to find it listed as a runner-up
among pictures entered by former Ten
Besters and such top notch workers as
Carbonaro, Merz, Londema, Tapp,
Nelli, Valentine and others of equal
talent.

This being our very first film en-
tered in any contest, and the competi-
tion being what it was with such a
tremendous number of films entered, we
feel as happy about the whole thing as
though you had awarded us a Ten Best
rating. We will try again. This was
wonderful encouragement.

Pete B. Delaurenti, ACL
Renton, Wash.

ALWAYS PUZZLED ME

Dear Mr. Moore: I have been a read-
er of Movie Makers for the past six-
teen years and a member of the League
for the last twelve years, and it has
always puzzled me how the judges ar-
rive at their decisions regarding the
Ten Best and Honorable Mention win-
ners.

Reading through December Movie
Makers on the latest awards, your

The Greatest Hame
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Compare These Pathe Features With Any
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"fa Full Frame Focusing Device — You actually sight directly
through the lens in use all the while you're filming.
You see the exact field, no need for parallax compen-
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you see exactly what is being registered on your film.

^ Variable Shutter - A totally closing variable shutter
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"J{ Built-in Hand Crank — Not a mere accessory which can
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~f{ Tri-Lens Turret — An exclusively designed three lens
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^ Automatic Footage and Frame Counters — These counters,
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yC Single Frame Device — Still pictures for animation and
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■^ Optical Viewfinder — A perfectly corrected built-in op-
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Ever since the inception of motion pictures, the
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Charles Pathe was one of the first to operate a
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Fuli Frame Follow Focus

A feature formerly restricted only to the pro-
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'16" that makes me

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President, Pathe Cine

NOTE. ..If your Dealer doesn't presently have the Pathe
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521 FIFTH AVENUE, NEW YORK 17, N. Y.

A DIVISION OF DIRECTOR PRODUCTS CORP.

JANUARY 1950

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comments on many of the Ten Best are
not as favorable as your comments on
some of the Honorable Mention win-
ners. It seems, therefore, that the
judges might feel a trifle uncertain re-
garding their decisions.

I am not trying to place my judg-
ment above that of your judges, who,
I am certain, have had much more
experience than I have. But I am in-
terested in what, in simple terms,
makes a good amateur movie.

Charles H. Benjamin, ACL
Past President
Brooklyn Amateur Cine Club, ACL
Brooklyn, N. Y.

Dear Charlie: It puzzles us, too. Broad-
ly speaking, we are a trifle uncertain about
our decisions. If you have read Hobbyist's
Hobby, our November editorial, you'll
know what I mean.

As for what makes a good amateur
movie, I'd list the ingredients, in their
order of importance, as follows: (1) In-
tent— a compulsive drive which makes it
undeniably necessary for a filmer to say
in his film something sincere, moving or
beautiful; (2) Imagination — an undefin-
able, and largely unteachable, talent which
transmutes the thing said into imagery of
universal recognition and appeal ; (3)
Ability — the technical skill to translate
intent and imagination into adequate film
form.

FILMERS TAKE HEART

Dear Friends: Congratulations on your
choice for the Ten Best and especially
the Hiram Percy Maxim Award! I have
seen the picture that won the Award,
and you can take my word for it, Glen
Turner's film richly deserved it.

I exhort all filmers to take heart
from his victory. He has proved against
the stiffest kind of competition that it
is not the equipment you own that
counts, it's what you do with it.

Al Morton, FACL
Salt Lake City, Utah

To a great-hearted competitor and
Maxim Award winner for 1947, our
warmest thanks !

SIMILAR IN SIZE

Dear Reader Writes: May I suggest
that the ACL lapel pin or button be
similar in size to the Marine Corps
button, which measures approximately
9/16 of an inch in diameter?

In the outer area, the letters "ACL"
on the top side and the words "Ama-
teur Cinema League" on the bottom
side, with an amateur movie camera
on a tripod in the center circle. Hav-
ing the camera and letters in gold and
the background in red would make this
design quite attractive and colorful.

George R. Wright, ACL
Arlington, Mass.

THERE IT WAS!

Dear Movie Makers: Every year we
make up our own personal Christmas
cards. This year we were at a loss for
an idea until the arrival of December

Movie Makers — and there it was.
Right on the cover!

So, at the very last minute, we cut
and we pasted and we had the very
best Christmas card yet. You can see
by the enclosed copy what we mean.

Raymond J. Berger, ACL
Cheektowaga, N. Y.

CLUB IN MICHIANA?

Dear Mr. Moore: As I read such arti-
cles as Helen King's Run a Nickelodeon
Night, I realize the fun that one misses
by not belonging to a local movie club.
And not only the fun, but the oppor-
tunity to join in cooperative filming
ventures and programs of benefit to the
entire community as well as to the in-
dividual filmer.

In discussing the subject with dealers
in the Michiana area, I find a great
deal of interest in helping with the
formation of such a group. I therefore
invite ACL members and other movie
makers in South Bend and Mishawaka
to get in touch with me if they are in-
terested in a local movie club.

John H. Groet, Jr., ACL
713 Studebaker Street
Mishawaka. Ind.

The full resources of the ACL's Club
Department already have been pledged
to member Groet and those others inter-
ested in forming a club in this busy area.

RESULT OF SHOWING

Gentlemen: Enclosed please find money
order covering two memberships in
ACL. One of our other ACL men
screened a reel of his recently at the
club without titles. He put the League
leader and end title on instead and
everyone thought it was beautiful. These
two new members are the result of that
showing.

A. Theo Roth, ACL
Golden Gate Cinematographers
San Francisco, Calif.

VERY GRATIFYING

Dear Mr. Charbonneau: Your interest
in our club is very gratifying, and I
am sure that every member of our club,
whether ACL or not, realizes the im-
portance of your organization in the
field of amateur movies.

Ralph R. Smith, ACL
President
Bennington Movie Makers
Bennington, Vt.

MOVIE MAKERS

THE moving hand. That look of
surprise. Even the smoke from the
candle. Ansco Triple S Pan stops
them all.

But conditions like these are made to
order for the terrific speed of this amaz-
ing reversible film. It's so fast, in fact,
you can use less artificial lighting — or
you can move your lights farther back.
The advantages are tremendous.

There is less brilliant glare, which means
that children, particularly, are not as
conscious of the lights. They are more
relaxed. Less apt to squint, or kick up
a fuss.

Indoors, or outdoors, Triple S Pan
lets you take pictures in relatively poor
light; or stop down for extra depth of
field. This means you can keep your sub-
ject in focus over a much wider range

— with needle - sharp screen images.

You'll be delighted, too, to discover
the tonal range possible with this wide-
latitude film. Get a roll, today, and see
how pleasantly surprised you'll be with
your "professional" results.

Ansco, Binghamton, New York.
A Division of General Aniline & Film
Corporation. "From Research to
Reality"!

ASK FOR

SCO 8 AND 16 mm TRIPLE S PAN FILM

JANUARY 1950

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REVERE CAMERA COMPANY • CHICAGO 16

EIGHTS AND S1XTEENS

Salt Lake City Tribune-Telegram

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CROSS LIGHTING, with its resultant highlights and shadow patterns, is
best for all ski shooting, whether in downhill racing or on the ski lift.

Alta Peruvian Lodge

TIME was, once the Christmas turkey had been tucked
away, that many amateur filmers tucked away their
cameras as well. No more good shooting now till
spring, they'd say. . . . But not so today. For today,
wherever snow falls across the land, there is the call of
high hickory. With more than two million zealots track-
ing the ski trails, there are bound to be thousands mak-
ing movies of this thrilling sport. And what a sport for
movie making it most surely is! Are you ready to shove
off?

DRESS FOR THE OCCASION

First of all, when traveling into your local ski resort,
be sure to wear proper clothing. Avoid hampering heavy
clothes that weigh you down, and trust instead to good
woolens and a windbreaker jacket. A cap with earflaps
is important, as are a pair of wool-lined mitts. And here's
a tip : slit the right hand mitt so as to permit quick action
of the index finger on the camera release button. Some
sport shops sell mitts of this type presumably for hunters.
They will work just as well when used with a movie
camera as with a rifle. Finally, if you're not a skier,
equip yourself with a set of snowshoes, or webs, for
getting about in the deep snow.

THE PROPER LENSES
A wide angle lens is of little use in ski filming. Tele-
photos, however, will be a great help on many occasions
in your movie tour of the schuss trails. For one thing.
it is rarely possible to get physically close to such ex-
citing action as ski jumping, downhill racing or even
the slalom contests. Your 3x or 4x lens will pull your
pictures in there where the action is at its best. Further,
even on the practice slopes, it can save you much tramp-
ing about for varied camera distances. Also, you'll want
a tripod, or, as many ski filmers have done, a tripod
screw inset in the top of one ski pole.

Try the ski trails this winter for a winning
combine of action and the great outdoors

HIGH HICKORY

L. TAPP, ACL

ESTIMATING EXPOSURE

Your usually trusty friend, the exposure meter, cannot
be wholly depended upon when shooting over snow. This
will be so especially on the familiar full or long shots,
where, with front lighting, the meter may show as high
as f/22. And yet for such scenes in Kodachrome at
standard camera speed, an aperture of //ll will be as
high as you should ever go. For near shots and closeups,
a reading on your hand will generally be a good guide.

Exposing for side or back lighted scenes depends on
what you want to get. If it is drama you're after, expose
for the highlights. If you want detail, then expose for
shadows.

CONTINUITY NO PROBLEM

If continuity is your problem, the following may be
helpful. One of the oldest and best treatments for any
movie is the one-two-three method of long shot, medium
shot and closeup. Let's begin with the practice or ama-
teur section of the ski slope. Here you can always find
spills, awkwardness and lots of humor. Why not concen-
trate on one beginner who spends all day trying, never
moving more than a few feet before another fall. This
could be used as a running gag in your film, with a cut-
back now and again to the same person still trying to
master the art.

After filming the beginners, let's move up to the big
chair lift that takes the experienced skiers up the slopes
and onto the mountain tops. Catch the skiers waiting
their turn in line, then climbing aboard and swinging off
into space. Now climb aboard a chair vourself for a
ride to the top. But keep your camera handy, for vou'll
get some excellent footage on the way up. Shoot straight
down and catch an empty chair [Continued on page 29]

ADVENTURES IN ANIMATION

OLD PUGH, THE PIRATE, gets his fearsome features painted on with India
ink. The figures were shaped from balsa wood and joined with copper wire.

HERO AND HEROINE say a fond farewell, as the fisherman goes off to his
nets. Clay under models' feet kept them upright when posed off balance.

RIGHT ANGLED MIRRORS as a background were used to create the illusion
of many couples and various dance patterns in dance fantasy sequence.

GLEN H. TURNER, ACL

IF and when any credits are being distributed for
the making of One Summer Day, I believe that
our oldest boy, Douglas, at least deserves an
assist. In fact, a good case might be made for giving
him the treasured Maxim Award. But please don't
tell him I said so.

It all started — a couple of Christmases ago —
like this. I had purchased a few months before the
holidays a new 8mm. Filmo Sportster. And like all
people with a new gadget I toyed around awhile
with the speed control, shutter release and the like.
I began wondering too about possible uses for the
single frame feature. It wasn't long then till an
animated title or two began appearing in our films.
The next obvious and apparently inevitable step
was an animated show.

WOODEN TOYS LEAD TO TRIUMPH
But cartoon animation seemed out of the ques-
tion, both as to available time and the technical
difficulties involved in the drawings. Then Christ-
mas came, and with it a seeming solution to our
animation dilemma. Douglas, then all of five, re-
ceived a set of "Crazy Ikes," an assortment of
wooden units that could be assembled into jointed
characters in any number of positions.

With these as a beginning we were in the ani-
mation business. Disney and George Pal just
weren't in it when our first reel came back from the
processors. What had been hours and hours of
move-the-figures, click-the-shutter, move-click, move-
click, etc., suddenly became a few precious seconds
of revealing action. The Crazy Ike actually sat up,
stood up, got on his horse and rode away. This
first production, A Little Boy's Dream, was reason-
ably successful, but it seems we hadn't had enough.
Hence the birth of One Summer Day.

HOW A STORY IS BORN

Movies being essentially a narrative art, probably
the most important single item in any film is its
plot or underlying theme. (Call it continuity or
whatever you wish. It's the getting from here to
there.) Here again it was Dougie who supplied the
answers. His wide-eyed interest in pirates and sword
fighting seemed to give us just the vehicle for an
animated venture.

But it's amazing how a plot changes when you
bring it down from the rosy clouds of imagination
to the actualities of technical know-how. The orig-
inal plot called for a buried treasure episode. It
was soon abandoned. How to make animated char-
acters dig in sand, when it was problem enough
merely to make them stand and walk about on a
smooth hard surface, discouraged too much elabo-
ration. The scenario was thus rewritten a couple of
times during the actual filming.

Again, even the nature of some of the characters
made and used in the show dictated some plot
changes. A celluloid fish was purchased so the hero
would have something to catch when he went out

How a child's Christmas toy prompted
the production of "One Summer Day,"
Maxim Award winner for 1949

fishing. We soon found that the one we selected
had so much personality that he seemed to demand
a more important role. Thus, the script was re-
vised so that he was instrumental in saving the girl
from the pirates at the end of the show.

THE CHARACTERS AND THE SETS
With a tentative outline of what the film was
to be about, our next problem was creating the
characters. The Crazy Ikes soon proved too heavy.
A layer of clay on the bottom of their feet had
been used to hold them upright in positions where
they were not in balance. But this clay softened
under the flood lamps and over went the figures.
Accordingly, the new characters were constructed
of balsa wood. They had copper wire running
lengthwise through the various segments of arms,
legs and so on, to hold the figures together and to
provide joints that would bend. Sections of the
figures that were covered with clothes were merely
stuffed with cotton. The hair of the heroine was
made of yellow embroidery floss. It was looped
back and forth several times, stitched through the
middle to form a part, then glued on the head.
Details of features were painted on with water
colors and India ink.

PACKING BOXES PRODUCE SETS

The sets for the most part were made of card-
board packing boxes covered with various colors
of construction paper. Details of boards and shin-
gles were drawn in with India ink. A weathered ap-
pearance was obtained by applying shellac to cer-
tain portions. The ship and fishing boat were built
around small cardboard boxes. Palm trees were
made with green paper fronds lashed to small wil-
lows stuck in cones of clay. The clay made a heavy
base which held the trees upright and yet could be
moved easily about the sets to balance the compo-
sitions.

THE PROBLEMS OF ANIMATION
For the sake of the record it would be well to
state that One Summer Day actually contains two
types of animation. These are true animation and
what may more accurately be called manipulation.
True animation, of course, consists of frame by
frame exposures with slight alterations of the
figures or objects between each exposure. On your
first attempts you will discover that you have a
tendency to move the figures too much between
takes; the resulting action on the screen will be
much too rapid to follow. A simple way to find
how many frames to allot to each action is to go
through the movements yourself and time them,
then simply multiply the number of seconds in-
volved by sixteen. Through experiment, for ex-
ample, we discovered that it took approximately
one second for a dancing couple to make a com-
plete revolution or whirl. Thus, in making the
couple whirl in the dance [Continued on page 30]

Photographs by Vernon Castleton and Willard Luce

A SLIDE PROJECTOR, right, used as a tiny spotlight, and an angled mir-
ror behind the cafe's facade, create effective illusion of light pouring
from the paneled window in tricky night scene from One Summer Day.

WAVES WITHOUT WATER were ingeniously simulated by moving parallel
rows of cardboard cutouts in alternating rhythm. Such wholesale movemeni
of entire units was often used in film in place of more genuine animation.

A SIMPLE CIRCLE in the titler easel gave a spyglass viewpoint as the
pirate chief stalked his prey. The paper palm trees in background are
movable, and were used at will by the producer to balance compositions.

NOW, SOUND ON FILM!

New Cine- Voice 16mm. sound camera puts professional pictures within amateur reach

EVER since the first 16mm. sound on film projector
was introduced, the home movie maker has dreamed
of the day when a precision 16mm. camera would
be available at reasonable price for making talking pic-
tures at home. The new Auricon Cine-Voice sound on
film camera is the answer to that dream.

Designed and built in Hollywood by the Auricon
Division of Berndt-Bach, Inc., this new 16mm. sound
camera features simplified controls, weighs only 12%
pounds and is priced well within reach of the advanced
16mm. movie maker. It can be used for making talking
pictures indoors or out, during vacation trips, at birth-
day parties, or even during baby's bath, all with theatri-
cal brilliance and clarity.

The Cine-Voice camera is driven by a constant speed
electric motor, providing on a 100 foot roll of film 2%

SINGLE CASE houses Cine-Voice camera, special amplifier unit,
headphones, microphone and all cables. Total weight: 12V2 lbs.

FOOTAGE METER', center; parallax corrected viewfinder, right,
and two cable connections, left, are seen here on Cine-Voice.

BOYNTON W. ROBERTS

minutes of continuous recording, such as when picturing
sports events. Single perforation sound films in black
and white are offered by Ansco, DuPont and Eastman
Kodak Company, while for full color shooting there is
available either Daylight Type or Type A Kodachrome.
All emulsions are on the familiar 100 foot daylight load-
ing spool.

To record actual sounds as they occur, along with the
picture, the cameraman need only place the Cine-Voice
microphone outside of camera range, adjust the ampli-
fier and shoot. Synchronization of sound and picture is
automatic, since both are put on the same film at the
same time. Their separation is the ASA standard of
twenty six frames between sound track and correspond-
ing picture. Even if splices are made in the film, the
sound and picture can be maintained in perfect synchron-
ism.

HOW SOUND IS RECORDED
The sound track made by the Cine-Voice camera is
of the variable area type and is recorded along the un-
perforated edge of the film by a galvanometer. This is
an instrument having electric coils which move a tiny
mirror in accordance with the sound waves being picked
up by the microphone and amplifier. As this mirror
swings back and forth, a beam of light is reflected from
it onto the film, where it is recorded as a vibrating
sound wave in photographic form. The galvanometer
and all of the sound recording lenses are extremely
rugged in construction and require no adjustment of any
kind. Further, they will operate in any position, whether
the camera is being hand held or is on a tripod.

The galvanometer is driven from a five tube Cine-
Voice amplifier, which has all the necessary controls for
recording the highest quality of speech or music. The
amplifier has two meters, one to indicate volume of
sound being recorded on the film, and the other to in-
dicate the exposure of the sound track. The meters are
calibrated so that previous experience in sound record-
ing is not needed to understand their use. The sound
track exposure meter also provides a means of checking
on the condition of the amplifier batteries, which are of
the portable radio type and may be obtained at any radio
supply store.

INPUTS FOR MIKE AND PHONOGRAPH
Two input plugs are provided on the Cine- Voice am-
plifier, one for the sound recording microphone and the
second for connection to a crystal phonograph pickup.
The microphone input has a volume control and also
a speech-music tone control connected with it. The phono-
graph input allows you to feed music from phonograph
records into the amplifier at the same time speech is
being picked up by the microphone. Thus, both speech
and music can be put on the film at the same time if
desired. The amplifier has sufficient power to record speech
satisfactorily when a person is talking in a normal tone
of voice as far as six feet away from the microphone
outdoors. [Continued on page 35J

KEEPING SOUND IN SYNC

Accurately synchronized music, narrative and even

lip-recorded speech are claimed by Movievox wire sound system

MARTIN WELEDNIGER

LIKE the electric light and the automobile, there now
seems no doubt but that sound with amateur movies
is here to stay. Whether you're working with sound
on film (see opposite page — Ed) , double turntable sound
on disc, or magnetic sound in any one of its present
or promised forms, today's aspiring amateur filmer in-
sists increasingly on a musical and narrative accompani-
ment with his pictures. Thus, as part of a stimulating
series on sound (April, May, September and November,
1949), Movie Makers has asked us to state the case for
Movievox. We are glad to have this chance to do so.

MAGNETIC WIRE RECORDER

Movievox, as some of you will already know, is basi-
cally a system for magnetic wire recording and playback.
However, if these were its only abilities, it would have,
certainly, no more claim on your attention here than
a half dozen other recorders of equal sound quality. It
is what we have added to Movievox that, we believe,
makes it unique in the amateur film field.

Our basic recording mechanism is built for us by the
Webster-Chicago Corporation, already well and favor-
ably known in the development of magnetic wire sound.
Standard with this unit are such helpful operative fea-
tures as an automatic brake guarding against wire break-
age, an automatic stop mechanism and a timing dial.

COMPACT CONTROL PANEL
To these we have added, on a control panel of our
own design, a centralized grouping of three control
knobs. The first, oh the extreme right, switches on the
current and monitors the tone. The second, which is
central in the group, serves as the volume control, while
the third (at left) governs the three functions of the
sound unit. These are to record, to play back and to
serve as a public address system independently of the
magnetic sound track. It is when this switch is in the
record position that any previous recording on the wire
is automatically erased as a new recording is made.
This permits not only the re-use of wire customary to
such units, but also a selective correction of recording
errors down to as little as a single word at a time.

AMPLIFIER AND SPEAKER
The Movievox amplifier controlled by these switches
has a frequency response of good quality from 80 cycles
to well above 9000 cycles. The power output is approxi-
mately 5 watts. There are three input connections pro-
vided— one for the included microphone and two for
plugging in pickups from a double turntable record play-
er. The two output connections provide leads to the
Movievox speaker and either to a booster amplifier for
large audience screenings or to a head set when the unit
is used for dictation. All input connections, as well as
the external amplifier connection, are of high impedance,
while the speaker connection is 3.2 ohms matching the
Movievox speaker.

CONTROL PANEL of Movievox has three central switches, three
input connections and two outputs for complete handling of sound.

IN OPERATION, the unit is placed centrally between controlling
projector and turntables. Patented synchronizer is left front.

The Movievox speaker is also of our own design. Al-
though housed as is customary in the cover of the single-
case unit, we have built into the cover a patented baffle
system which makes possible overtones heard only from
the Movievox. The speaker is of the permanent magnet
type, and comes equipped with 25 feet of extension cord.

PATENTED SYNCHRONIZING UNIT
We come now to the outstanding feature of the Movie-
vox, which marks it as unique among all comparative
magnetic sound systems. This is our patented synchro-
nizing unit. With it, says J. F. Bailey, the designer, the
Movievox recorder can be coupled with any projector
on the market — 8mm. or 16mm., silent or sound — so as
to play back music, narrative [Continued on page 38]

USING THE WIDE ANGLE LENS

JAMES W. MOORE, ACL

Photographs by LEO J. HEFFERNAN, FACL

HAVE wide angle lenses got you wondering? Have
you asked yourself what they are? What they do?
Or even why they are called "wide angle" in the
first place? If so, you have been asking sound and stim-
ulating questions. The answers to them, we believe, can
be of equal interest. Let's take a look.

WHAT WIDE ANGLE LENSES ARE
Putting it as simply as possible, a wide angle lens
may be defined as a lens having a wider angle of view
than that of the lens which is standard for the camera

INCREASED AREA

FIG. 1: Cramped and crowded is this Sunday morning scene, pic-
tured with standard lens from farthest possible camera position.

FIG. 1-A: Clear and composed is same scene shot with wide angle
lens from same spot. Note increased coverage in both directions.

involved. If this sounds at first like saying only that
"a wide angle lens is a lens with a wide angle," let's
look further into this definition. Let's look at the word
"standard."

WIDE COMPARED TO STANDARD
When you bought your camera, it had mounted in it
(normally) a single lens of a certain focal length. What
the speed of that lens was is not important to our present
discussion. But what its focal length was is of vital im-
portance. With an 8mm. camera, this focal length would
be % inch (12.5mm.) ; with a 16mm. camera it would
be 1 inch (25mm.) in length. And with each camera
this lens would be known as the normal or "standard"
lens for the camera concerned.

DEFINING STANDARD
But why standard? And why a % inch lens in one
case and a 1 inch lens in the other? Again simplifying,
a lens is regarded as standard for a given camera when
its focal length produces an image on the film which
most nearly resembles in perspective the scene being
imaged. And, to answer the directly related second ques-
tion : the ideal or standard focal length of a lens varies
depending on the size of the image it must produce. Thus
it is that with the 8mm. camera and its frame size, the
^2 inch lens is regarded as standard. With the larger
frame size of the 16mm. camera, the 1 inch lens is re-
quired to produce an image similar in coverage and per-
spective. Their angles of view, however, remain the same
— approximately 20 degrees by 15, on the horizontal and
vertical.

SHORTER LENGTH-WIDER ANGLE
What happens now, if we use on either of these cam-
eras a lens of shorter focal length than the standard?
Practically (with the screened image, that is), a number
of interesting things happen — which we shall consider
carefully in a moment. Technically what happens is that
the shorter lens also takes on a wider angle of view; it
becomes for the camera in question a wide angle lens.
There have been established, however, certain focal
lengths which are regarded as being the wide angle lens
for each size of camera. J/or 16mm. cameras this lens is
almost universally 15mm. in length (as opposed to the
1 inch, or 25mm., standard) ; with an 8mm. camera the
wide angle lens varies from 7 to 7.5 up to 9mm. in focal
length. There also are available for each camera acces-
sory wide angle lenses. These, when fitted over the stand-
ard lens of the camera, shorten its focal length (but do
not change its speed) to create the same effects as a
prime wide angle objective.

LARGER FIELD FIRST EFFECT
Certainly the best known effect of the wide angle lens
is its ability to enlarge the camera's field of view from
a fixed camera 'position. For the family firmer this often
may mean the difference between getting a desired scene
and not getting it. With his back literally against the
wall, he simply shifts from his standard lens to the wide
angle for the needed coverage. [Continued on page 34]

INCREASED DEPTH OF FIELD

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FIG. 2: A shallow depth of field, created by near camera position and
wide aperture in shadow lighting, is returned by standard lens in the
group shot above. Note also cramped composition and poor perspective.

FIG. 2-A: Increased depth of field and more pleasing placement of all
figures within the frame result from using the wide angle lens. Actu-
ally, camera here was placed slightly nearer subjects than in Fig. 2.

Increased area, greater depth of field and visually accelerated movement are
three prime effects of the wide angle lens. You'll want to use them

ii^

ACCELERATED MOTION

FIG. 3: In these exactly comparative picture trios, the girl begins
her run toward the camera at mailbox in background, reaches the side-
walk on right at midway, and completes her action by steps at left.

Although she travels an equal distance in equal camera time in both
cases, the effect on the screen created by the two sequences will be
markedly different. The standard lens take above will seem the slower.

FIG. 3-A: Shot with a wide angle lens above, both the pictures and
their kinetic effect on screen will be magically altered. Because of
greatly deepened perspective (note receding lines of sidewalk) the

girl's figure at start is smaller and seems farther away. Therefore,
as she runs toward camera, she seems to be traveling a greater dis-
tance in the same time, thus creating impression of increased speed.

MOVIES IN COLOR: 2

How the type of light and tone of your subject affect

outdoor exposures in color. . . . Part 2 of a series

THERE is but one accurate exposure for color film at
which a scene and the colors therein will be repro-
duced correctly. But film manufacturers agree that
there is a certain latitude in the film which permits an
error up to one half stop variation from the normal ex-
posure without sacrifice in quality. This means that a
filmer will adopt some means of gauging or estimating
the correct exposure or his results are likely to be dis-
appointing.

EFFECTS OF EXPOSURE ON COLOR
Overexposure causes the colors and the picture details
to appear diluted and washed out, whereas underexposure
will make the scene look as if it had been photographed
through smoked glasses. On the other hand, if the sky
•chart (the instructions which come with the film) is fol-
lowed, or if an exposure meter is used correctly in arriving
at the exposure, then the scene will be reproduced so as
to accent and enhance all of the colors and details within
the angle of view of the lens.

Most cameramen agree that, when filming in direct sun-
light, use of the directions which come with the film is the
most dependable way of estimating exposure. However,
this involves a certain amount of thinking, for the light
and subject matter conditions must be estimated and these
conditions interpreted into an exposure by reference to
the data chart. For this reason, an exposure meter is often
bought with the camera. All of those available today are
dependable if used correctly. But they, too, require study
and close adherence to instructions, as will be discussed
in detail later.

USING THE INSTRUCTIONS WHICH COME
WITH COLOR FILM
Daylight type color film is balanced for sunlight plus
skylight. Scenes illuminated by sunlight are in addition
partly lighted by reflections from other objects, such as
grass, trees, rocks, walls and the like. But there is also
present, if the blue sky or clouded sky is visible from
subject viewpoint, a considerable amount of skylight.
These added sources of illumination bolster the shadow
side of objects in the scene, thus tending to decrease con-
trast in the lighting. Otherwise a scene would be made up
of harsh highlights and inky shadows, and color photog-
raphy would suffer greatly thereby.

TYPE OF LIGHT IMPORTANT
In following the instructions which come with the film
(daylight type) outdoors in the daytime, the scene must
be appraised from two separate standpoints. First of all,
weather conditions are considered. There -are five cate-
gories: (1) clear, direct sunlight; (2) hazy sun (when
soft shadows are cast) ; (3) open shade (with clear blue
sky); (4) cloudy bright (no shadows cast), and (5)
cloudy dull (threatening).

With the exception of No. 3 (open shade with clear
blue sky), these five categories are easily understood and
need no explanation. By "open shade with clear blue sky"
there are meant the conditions encountered in an area

shaded by the side of a house. Persons pictured in close-
up under these conditions will not squint their eyes, and
the movie shots take on a candid, off-guard appearance.

However, to use the diaphragm stops indicated in the
instructions, there must be visible from subject viewpoint
an expanse of clear blue sky from the zenith almost down
to the horizon in all visible directions as one stands with
his back to the house. If there is any doubt about this, it
will be better to take a reading with an exposure meter,
rather than to go by the instruction sheet. Also, when
filming under these conditions, a haze filter is needed to
prevent a bluish look in the finished movies.

Pictures made in direct sunlight require no haze filter;
but on overcast days (No. 4 — cloudy bright) one is recom-
mended, especially if such footage is to be included with
shots made in direct sunshine. It is generally agreed that
color movies made on an overcast day with the proper
filter in place on the lens are very pleasing to the eye.
Lighting contrasts are soft and, to the eye, colors take on
a pastel shade. In the finished movie, however, the colors
are vivid and the picture sharp. And, for an obscure rea-
son, this combination also imparts a stereoscopic quality
or illusion of depth to the projected image.

BEST TIMES OF DAY
Movies filmed in direct sunlight are most effective when
lighted by mid-morning or mid-afternoon sunlight. When
the sun is directly overhead it casts heavy, unattractive
shadows, especially in closeups of persons in which eye
sockets and areas under the nose and chin will suffer.
On the other hand, color pictures made during the recom-
mended period make possible general front lighting. This
is desirable not only because it is an effective type of
lighting, but also because it reduces exposure problems
to a minimum. With the sunlight reaching the scene from
the general direction of the camera, shadows will be
almost invisible from the camera viewpoint. To achieve
this lighting, a cameraman faces his subject toward the
sun, then takes the picture with the sun behind and
slightly to one side of the camera.

EXPOSURE STANDARDS

Taking Bright Sunlight as a standard, the recommended
changes in exposure for the different weather categories
are as follows:

Bright sunlight. See exposure recommendiations in the
table which follows.

Hazy sunlight. Requires one stop more exposure than
bright sunlight.

Cloudy bright. Requires two full stops more than bright
sunlight.

Open shade. Requires about three full stops more than
bright sunlight.

Cloudy dull. Requires three full stops more than bright
sunlight.

Other variations from the norm are:

Side lighted subjects in bright sunlight require one full
stop more than front lighted subjects.

Back lighted subjects in bright [Continued on page 30]

BUILD

YOUR OWN BOOM

BRUCE ENGELS, ACL

AS WAS pointed out in the lighting roundup in
December Movie Makers, one of the chief diffi-
culties of the home filmer is in placing his lighting
units high enough to create the effects he may desire. The
light boom, it was suggested, is the best answer to that
problem; and, in the lighting equipment survey, certain
of these units offered commercially were displayed.

I agree heartily with the importance placed on the
light boom in any home lighting setup. At the same time,
I prefer making my own movie accessories, whenever this
is possible. Thus, I am happy to offer the designs of my
homemade light boom, in the hope that they will interest

SWIVEL BLOCK

1 i

'<y.j

STEEL PLATE

■17" DIA.

ROUND DIA. ROD

WELD ROD AT POINTS
INDICATED

BOTTOM OF BASE

^-^

DETAIL OF SWIVEL BLOCK
ASSEMBLY

LIGHTING BOOM in its com-
pleted form is outlined above,
together with detail plan of the
swivel block as assembled.
Coverage of boom as plotted
is from three to eight feet above
floor.

CONSTRUCTION of metal base plate for the lighting boom and details
of the wooden swivel block used at end of yardarm are shown here.

amateurs with facilities for constructing it. The entire
unit, as it will be described, costs about $2.00 in ma-
terials.

The best place to begin building is with the base of
the outfit. This I cut from ^4 inch steel plate in a circle
17 inches in diameter. Welded to its center on the top
surface is a 10 inch length of 1% inch pipe which holds
the upright wooden shaft of the unit. Since this welding
operation tends to make the steel plate curl up, or "dish,"
I then tack-welded to the bottom of the base a complete
circle of V2 inch round rod. This strengthens the base
and eliminates all curl.

Both the vertical and the horizontal units of the boom
are composed of clothes closet hanger poles, 1% inches in
diameter and 6 feet in length. For a distance of 10%
inches along the bottom length of the upright pole I
shaved off enough so that it would fit in the base pipe
with about 1/32 of an inch clearance. This permits the
upright unit to be rotated a full 360 degrees in use.

At the top end of the upright pole I then cut a notch
2% inches deep and % inch wide. Then, at a point about
1 foot from one end of the boom proper, I shaved this
pole down to a width of % inch over a section 3 inches
in length. A y<> inch hole is then drilled through both
units and a suitable length of dowel is inserted as an
axis. A length of strong twine was then attached to this
end of the boom and a suitable [Continued on page 38]

Ingenuity, proper tools and $2.00 worth of
materials will create a handy lighting unit

Here's Cine-Chat again — a once-in-a-while

feature on these pages to help keep you

posted on techniques for better movies, and

on the Kodak products that make them

possible. This month, there's news

of several new movie items, plus a

round of applause for some very

outstanding movie makers.

But first, here's a tip that's

up to date every month! Keep

in touch with your Kodak dealer.

That's good advice any time]

CINE-KODAK RELIANT CAMERA
NOW IN TWO MODELS

This popular "Eight" now supplied
with f/2. 7 or// 1.9 Ektanon Lens

There's now a choice of lens speed and range
with the Cine-Kodak Reliant Camera —
Kodak's popular "Economy Eight" movie
maker. It's available with either of two
precision-built Kodak Cine Ektanon Lenses
— a prefocused//2.7 ... or a focusing //l. 9.

The f/2.7 model is a splendid choice for
movie newcomers. Simple to use, positive
in operation, it assures fine results with aver-
age subjects ... at average distances.

The//1.9 model is for those who require
extra speed . . . extra close-up range, along
with roll-film economy. Its lens provides
twice as much speed when you need it for
difficult lighting conditions . . . focuses ac-
curately by scale for distances from infinity
to as little as 12 inches from the film plane.

Either "Reliant" is a Splendid buy. Both
provide such luxury features as slow motion,
built-in exposure guide, acceptance of a 3X
accessory telephoto, and others. And both
are of sprocketless design — a system that com-
bines convenience in loading with the econ-
omy of Cine-Kodak 8mm. Film in rolls.

Take your choice of two fine cameras —

the//2.7 model at $79 ... . thejf/1.9 model
at $97.50. And, by the way, though you se-
lect the//2.7 model now, you can step up to
the focusing model later, if you like, by
acquiring the //1.9 lens as an accessory.
Price of the Kodak Cine Ektanon 13mm.
//1.9 Lens alone, $42.50.

KODAFLECTOR—
FOR INDOOR MOVIES

A new low price on Kodak's versatile
twin-reflector lighting outfit

Many movie makers call it the biggest buy
in photography ! And with excellent reason — -
together with inexpensive photoflood lamps,
this easy-to-use twin reflector outfit is every-
thing most folks need in the way of indoor
lighting equipment . . . everything needed
for some of the most delightful scenes in
your movie record. For two photofloods in
Kodaflector are as potent, photographically,

zs, fourteen photofloods used without reflectors !

The Kodaflector consists of two reflectors
independently mounted on an adjustable
stand, complete with sockets, switches, and
connecting cords. Just set it up for the height
required — any height from under three feet
to six . . . screw in the photofloods . . . and
aim the reflectors at your subject. That's all
there is to it ! Switch on, and the Kodaflector
floods your subject with brilliance.

Real convenience . . . remarkable efficien-
cy .. . and now, a bargain price of only $5
. . . recommend the Kodaflector as a truly
outstanding movie-making accessory.

CINE-KODAK LENS

SPACER RINGS

For ultra close-up movies . . . magnifica-
tions of more than 200 diameters!

It's a new way to ultra close-ups . . . and one
that can be used with just about any movie
camera that's equipped for visual composi-
tion. If your camera, 8mm. or 16mm., takes
Kodak Cine Ektanon or Ektar Lenses
through the use of a Kodak Cine Lens
Adapter — and most cameras do — you can use
Cine -Kodak Lens Spacer Rings with those
lenses . . . and apply them with the adapter.
(No adapter needed, of course, with Cine-
Kodak Special II Camera.)

Essentially, Spacer Rings are a method of
increasing the distance between lens and
film so as to increase the close-up range of
the camera. And what a job they do ! With
a 16mm. camera, the outfit makes possible
the coverage of fields as tiny as a half inch
in width for magnifications of well over 200
diameters when you project the movies on
10- or 12-foot screens . . . area magnifica-
tions of over 50,000 times !

There's complete close-up range, too.
Each outfit consists of three units, which
can be used singly or in any combination.
To vary your coverage, simply vary the
combination of units ... or the lenses you
use them with. Tables for each Kodak Cine
lens are supplied with the outfit.

Of course, such ultra close-up filming re-

quires extreme precision in sighting, but for
advanced movie makers, Cine-Kodak Lens
Spacer Rings provide the way to a challeng-
ing and rewarding field of motion pictures.
Price — $11, complete.

NEW FILTER
FOR KODACHROME MOVIES

For ninety-nine shots out of a hundred, as
■experienced movie makers know, there's
no need for filters of any kind with Koda-
chrome Film. The filter just isn't made that
can improve the rich, warm color rendering
you get with Daylight Kodachrome Film
used under the normal daylight conditions
for which it's intended. The Kodak Skylight
Filter, however, is for that hundredth shot —
the scene miscolored by atmospheric condi-
tions that give an unduly bluish cast.

If you run into such scenes — shots on over-
cast days, distant scenics, or open-shade
scenes illuminated by bluish sky light — slip
the filter over your camera lens, and it will
take care of the scattered blue light handily.
The Skylight Filter is available in all series
of Kodak Combination Lens Attachments.

KODAK DAYLIGHT
PROJECTION VIEWER

A new . . . wonderfully convenient . . .
approach to motion-picture analysis

Kodak Daylight Projection Viewer is a new
system for viewing motion pictures ... a
system that takes movies out of the dark
and onto a desk or table in ordinary room
light or far brighter. It works with any pro-
jector, 8mm. or 16mm. . . . and with any
film, color or black-and-white. You simply
beam your projector into the mirror at the
rear of the Viewer, and your movies are re-
flected to the special Kodak Day View
Screen at the front — brilliant, and so sharp
and clear that you can analyze every scene
in close detail.

The Day View Screen is the key to the
system. Because it's specially designed to
minimize the effect of surrounding light on
the brightness of the image, you can show
your films under ample illumination for
convenient note taking without graying
down the brilliance of your movies.

If you're interested in analyzing your
movies critically, you'll appreciate this and

other features of the Projection Viewer.
With light directed from the rear, you can
point out scenes of special note right on the
screen without causing shadows that block
the image. And, though the outfit is trim
and compact — it packs into a carrying case
only y/z x 12 x 21 inches . . . and sets up,
with room to spare, on a desk or table — your
movies are amply large for detailed study.
Because you sit close to the screen, the 8 x
11% -inch image is the equivalent of a
screening 6 feet wide, projected with conven-
tional equipment and viewed from the cus-
tomary 18-foot distance.

Price of the outfit, complete with alumi-
num carrying case — $47.50.

SUPER-f AST SHUTTER SPEEDS

WITH CINE-KODAK SPECIAL

CAMERAS

There's no need for owners of Cine-Kodak
Special Cameras to take a back seat on shut-
ter speed, even to users of fine still cameras.
The Special's adjustable-opening shutter —
although designed primarily to provide a
convenient way to make fades and dissolves
— can be combined in use with the variable-
speed motor to make possible exposures as
short as 1/560 second!

Here's how it's done: With the shutter
fully open and the camera run at the normal
16 frames per second, the shutter operates
at about 1/35 second. When you close the
shutter to half-open, it's speeded up to 1/70
second . . . and when you close it to quarter-
open, it operates at 1/140 second. You get
really fast shutter speeds, however, when
you combine the quarter-open shutter with
faster-than-normal motor speeds — 1/210 sec-
ond at 24 frames per second . . . 1/280 second
at 32 f.p.s. . . . and 1/560 second at 64 f.p.s.

Obtaining super-sharp movies of fast-
moving subjects — this is one extra applica-
tion for Cine-Kodak Special Camera's re-
markably versatile shutter.

KODASCOPE SIXTEEN-20
REMOTE REVERSING SWITCH

You can move anywhere in the room
. . . yet keep control of the projector

Here's a modestly priced accessory for the
Kodascope Sixteen-20 Projector that makes
possible super-rapid changes between for-
ward and reverse operation from a distance.
One application: lecturers can speak from
screen-side . . . yet still be able to rerun
scenes of special interest. The price — Switch
and generous-length cord — $6.50.

Congratulations!

We're happy to join
the acclaim for the winners of
Movie Makers' annual contest

Our hearty congratulations to the "Ten
Best" award winners whose names, together
with the titles of the fine films they've au-
thored, appear below. Our commendations
also to the editors of Movie Makers for their
sponsorship of this annual competition that
has long served to stimulate better amateur
motion-picture making.

"One Summer Day"*
GLEN H. TURNER, ACL
Springville, Utah

"Escape"
WARREN DOREMUS, ACL
East Rochester, New York

"Jones Beach"
GEORGE MESAROS, FACL
Long Beach, New York

"Menemsha"
JOSE M. PAVON
New York, New York

"Mexican Malarkey"
CAL DUNCAN, ACL
Lee's Summit, Missouri

"Storm Due"
FRANCIS J. BARRETT
Seattle, Washington

"The Great Man Hunt"
DONALD W. VOLKMAN, ACL
West Somerville, Massachusetts

"The Raggedy Man"
ANDY POTTER
Sherman Oaks, California

"The Story of Matsela"
LEWIS LEWIS, ACL
Cape Town, South Africa

"The Witch Cat"
WILLIAM A. THOMAS, ACL
Buffalo, New York

* Winner of the
Hiram Percy Maxim Memorial Award

We're proud that every one of these award-
winning movies was made in whole or in
part on Cine-Kodak Film and that six of the
ten were made with Cine-Kodak Cameras.

Eastman Kodak Company
Rochester 4, N.Y.

All prices include Federal Tax
where applicable.

trade-makk

MODELS FOR YOUR MOVIES! Members of ACL, says the management, have
only to show membership cards to receive top cooperation at Cypress Gardens.

WINDING WALKS and gleaming waterways create
compositions galore for the scenic minded movie maker.

CYPRESS GARDENS INVITES

ROBERT J. EASTMAN

FLORIDA this winter is girding itself for a bumper
crop of visitors. More particularly, Cypress Gardens,
America's tropical wonderland, is going all out to
have ready for the amateur camera fan all of the kaleido-
scopic color that Mother Nature has to offer, as well as
fast moving action in the form of an aqua-ski show. For,
ever since 1934, Richard D. Pope, owner and creator of
beautiful Cypress Gardens, has planned the Gardens and
arranged the action of the water shows to satisfy the
every whim of the amateur camera fan.

HOW TO GET THERE
Located in the ridge section of central Florida, Cypress
Gardens is reached by U.S. Highway 27. Four miles to
the north lies Winter Haven, city of one hundred lakes,
while twelve miles to the south is Lake Wales, the site
of Bok Tower, the world's largest carillon. Bok Tower
is located on Iron Mountain, the highest spot in Florida,
and surveys a panorama of beautiful scenery.

PLANNED TO BE PICTURED

Cypress Gardens, you might say, was designed and
laid out through the eyepiece of a camera. Its winding
pathways are built so that each turn opens a new vista.
Low plantings line the walks, with flowering shrubs be-
hind, while behind them are the age-old cypress, bedecked
with garlands of Spanish moss. Peeking through the
foliage is the shimmering surface of Lake Eloise, one
of the largest lakes in central Florida.

During the winter months the dainty pink Due du
Rhoan azaleas and the stately purple formosas create
masses of color for your long shots. Arched wooden
bridges under which you can cruise in quiet electric boats
allow follow shots ending in superb closeups. Among
the rare and exotic plantings are elephant ears, the fruit
salad plant, poinsettias, the lipstick tree, magnolias, tree
orchids and camellias and japonicas — the pride of the
Deep South. Overhead, bougainvillia and flame vine creep

through the somber branches of the pines and oaks.
Strolling graciously against this background are lovely
models in the hoop-skirted costumes of the Old South,
ready and willing to pose for your pictures.

AQUAMAIDS AND ACTION

But it is during one of the regularly scheduled water-
ski shows that the amateur movie maker really comes
into his own. A special dock for cameramen extends out
onto the lake, on which tiers of seats are provided so
that you may shoot over your neighbor's head. In his
pulpit over your heads, a trained photographer calls out
the proper exposure for either standard speed or slow
motion sequences. He announces what will take place
next and, what is more important, when to start rolling
to get the highpoints of the action.

Even the angle of the sun has been taken into con-
sideration in the location of the photographers' stadium
— it's behind you during three quarters of the day, giv-
ing perfect front lighting for your color pictures. Aqua-
maids whiz by your camera in precision-plus ski routines,
and the ski-jumping ramp is located so that it just fills
the screen with your one inch lens.

EXPOSURE DATA FOR THE GARDEN

The lighting is good throughout the Gardens. But for
those who want them, reflectors are available. Some
closeups, we find, are made more brilliant with reflectors
where subdued shade predominates. At sixteen frames a
second, the normal exposure in the Gardens is //8 with
color film. Perhaps f/6.3 is a better aperture to dig into
the shadows where some light and shade exist together.

In the late afternoon, silhouettes and sunsets are things
of beauty. At sixteen frames a second and //5.6, you can
retain the color of the evening sky and render the fore-
ground in dark tones. For closeups of single flowers in
bright light, or for a model's smile, use //9 at normal
speed.

NO TIME FOR THE TRIPOD, says Dad, at right, when such
attractive antics tempt his eye. No Time, period! says Mom.

EXPOSURE DATA FOR WATER SHOW
With the light pouring in on the open lake and the
sun down a bit from its zenith, illumination for the water
show will be almost from the front. Thus, down-angle
shots from the top of the camera stadium, or lake-level
effect shots, are easy. Also the dock is long enough so,
if you like, you may move back and frame your friends
in the foreground.

As the action develops, the camera master on his
podium behind you will sing out / settings for existing
conditions. Basic exposure for bright sunlight will be
f/9 at normal speed. But he will give settings also for
alternate speeds of 24, 48 or 64 frames a second. Spec-
tacular spills off the high jump, just far enough away to
fill your screen, are best recorded at the 64 frame speed.

Finally, after the show is over, the Aquamaids will gladly
pose for your closeups.

Here in Florida, nobody likes to mention bad weather.
But, should the sun go under a cloud during your visit,
the Cypress Gardens Gift Shop has for sale a complete
line of duplicate color films, 8mm. and 16mm. Color
slides are also available in duplicate, while raw stock is
always on hand in all sizes.

We pride ourselves that at no other spot in the country
is so much attention paid to the needs of the amateur
cameraman. In fact, members of the Amateur Cinema
League need only to show their membership cards to
receive the utmost in photographic cooperation from all
hands at Cypress Gardens. It's your show!

Tropical beauty and exciting action are combined
for the cameraman at this Florida wonderland

PRECISION PLUS are the water-ski routines of the Aquamaids as they flash
by the elaborate camera stadium especially provided for picture makers.

r\cademy awards in the offing may be responsible. But,
whatever the reason, the bumper crop of sterling prod-
ucts currently on view is due cause for jubilation. Ama-
teur producers are urged to see and study these superior
examples of fine film making. — D.C.

RICH IN REALISM
Three Came Home: Agnes Newton Keith's novel of her
experiences as a P.O.W. in Jap-occupied Borneo during
the recent war is the source of this Darryl F. Zanuck
production for 20th Century-Fox. Borrowing from sim-
ilar European films of the past three years, notably the
grimly realistic The Last Stop, director Jean Negulesco
has put together an admirably honest drama of war,
women and children.

Contrasted with pre-war propaganda efforts, the pro-
duction is almost heretical in its realism. The Japanese
are recognizable as human beings, and even the studio
sets reflect the pains taken to achieve authenticity. The
newsreel type of photography and the low key lighting
are especially well suited to the theme.

SLOW MOTION TECHNIQUE
Fallen Idol: A foreign embassy in London is the scene
of a taut drama produced and directed by Carol Reed,
England's premier movie maker, from an ingenious
screenplay by Graham Green. Star of the proceedings
is talented young Bobby Henrey as the ambassador's son,
who contributes unwittingly to the evidence of murder by
the embassy butler, a man whom he idolizes. All comes

Selznick Releasing Organization

DRAMATIC LONG SHOTS, from both low and high camera po-
sitions, mark the English Fallen Idol for study by amateurs.

Aids for the amateur cameraman,

to be seen in current theatrical films

right in the end, however, and the ambassador returns to
find no hint in his household or his son's face of the vio-
lence they had witnessed but a few hours before.

A daring camera technique, first developed in experi-
mental films, helps establish mood and pace in the first
sequence. In it accelerated camera speeds slow the care-
fully choreographed movements of the players, with the
boy's actions alone remaining normal. Exceptionally dis-
tant down-angle shots aid the illusion. A film of outstand-
ing merit from every aspect, Fallen Idol provides solid
substance for amateur study.

SOUND-AND SILENCE
Intruder in the Dust: The issue of racism receives
further examination in this Metro-Goldwyn-Mayer pro-
duction of William Faulkner's novel of the Deep South.
Not just another variation on a theme, however, the film
is a forceful study of inter-racial relationships, removed
from actual reality only by the fact of being dramatized.
For Clarence Brown, producer and director, filmed ninety
percent of the picture in Faulkner's home town of Ox-
ford, Miss., with many of the local residents taking part.
The picture provides for the amateur effective examples
of the dramatic uses of sound — and silence. Ironic juxta-
position of the choir's singing, for example, with the
screech of the sheriff's siren builds suspense to an excit-
ing climax. Using only such sounds as are natural to
the scene, the film eschews the usual musical background.
This silence often contributes more in dramatic power
than a full blown score.

BIOGRAPHY AND HISTORY
Fame Is the Spur: From England's Two Cities studios
comes a documentary-type drama of the growth of a pol-
itician, from his humble slum beginnings to a peerage
and a position in the cabinet. It is also a history of
Britain's brand of socialism and some of its exponents.
The portrait and the man bear more than a coincidental
likeness to Ramsay MacDonald, while Neville Chamber-
lain's unlamented spirit hovers nearby.

Keen direction and incisive editing create a clear story
development, into which there is woven a considerable
period of modern history. Countless natural settings give
the film the credibility we have come to expect from the
English.

PACE AND POLISH
Whirlpool: What might have become another trite mel-
odrama in less able hands is here molded into a polished
and exciting tale of modern life. Psychiatry, kleptomania,
blackmail and murder are the ingredients, with all of
them kept credible by the matchless acting of Jose Ferrer,
the suave writing of Ben Hecht and the dramatic camera
work of Arthur Miller, ASC. The low key lighting is
especially effective for Ferrer's evil doings, while a tight
pacing adds the final touch to this first rate mystery.

DISTILLED WATER

Because of the tremendous enlarge-
ment of the movie frame during pro-
jection, water spots on home devel-
oped titles, toning jobs or reversals
are of more than ordinary impor-
tance. These spots are created, of
course, by the deposition of native
minerals from your wash water as it
evaporates after the final washing.

The use of distilled water for that
operation would solve this problem
nicely. However, such water is al-
ways expensive and usually difficult
to obtain.

One solution to the problem is
simplicity itself. Simply save the ice
and frost drippings from the freez-
ing unit of your refrigerator follow-
ing each routine defrosting. This is
distilled water in the literal sense, so
why not start now to build up a
supply of refrigerator-distilled water?
Clarence E. Rutherford
Eugene, Ore.

OFF-COLOR CORRECTIONS

Several years ago I shot about 150
feet of Kodachrome at the Brookfield
Zoo, in Chicago, on a day when the
sky was overcast. This film came back
from processing with an overall
green tint, and for years I have been
ashamed to show it.

Recently, however, I discovered a
kit of gelatin filters designed for col-
or correction use after the film is
processed. They are known as Adda-
color filters and are manufactured by
Lou-B Specialties, 1104 N. Wilcox,
Hollywood 38, Calif. The kit — which
consists of twenty four 2 by 2 inch
sheets of colored gelatin for sixty
five cents — was really designed for
use with Kodachrome slides. But it
works equally well with movies.

For example, with my green zoo
footage, I simply clip the red filter
in a cardboard mount over the pro-
jection lens when these scenes are
going through.

Early home filmers with faded col-
or footage and those with other off-
color problems should find this filter

CONTRIBUTORS

The Clinic are paid from $2.00 to $5.00
for ideas and illustrations published.

Your contributions are cordially in-
vited. Address them to : The Clinic,
Movie Makers, 420 Lexington Avenue,
New York 17, N. Y.

Please do not submit identical items to
other magazines.

set an interesting and often reward-
ing investment.

Markley L. Pepper, ACL
Denver, Colo.

KEYSTONE CONFECTIONS

Our gang revels in home movie
making of the realest (and perhaps
roughest) kind, and we are at pres-
ent producing one reel parodies of
the Keystone comedy era. Sooner or
later, of course, the inevitable pie
throwing sequence forced its way in-
to the script.

What with today's prices, however,
using the real thing was too expen-
sive— to say nothing of the messiness
involved. So we concocted a harm-
less, inexpensive replacement which
some of you other home movie ma-
niacs might like to keep in mind.

Simply whip up your favorite soap
flakes until it gets to meringue con-
sistency— and then pile it on a paper
plate. The result loses none of its
earlier effectiveness. And it's much
easier on the performers and sur-
roundings.

Thelma Klages
Los Angeles, Calif.

SHORT SUBJECT FILE

The who, what, when and where
of a single-subject 400 foot (or larg-
er I reel of pictures is generally not
hard to keep in mind. In my editing,
however, I frequently find it neces-
sary to combine for projection con-
venience anywhere from two to ten
short subjects on one reel. Recalling
the place and personnel of each of
these units (not to mention its or-
dinal position on the reel) can pre-
sent quite a different problem.

To solve it I have developed a
simple cross reference file, as fol-
lows: Inside each reel can cover I

Pictures, plans and ideas to
solve your filming problems

place a list showing, in order, the
short subjects on that reel. Then, in
a card file of people and places, I
record the reel number (or num-
bers) in which each of them appear.
In this way, it is a simple matter to
show Tom, Dick or Harry only those
films in which he is pictured.

William C. Roeger, ACL
Chalfont, Pa.

EXTENSION CORD CONVENIENCES

Those three-way electric outlets on
the business end of one's power ex-
tension cord can be quite handy
around the projector. I plug the pro-
jector cord into one outlet, a neon
glow lamp for my stroboscopic disc
into another, and a small pilot light
into the third.

Both of the lamps have candelabra
bases and are rated at 110 volts. The
pilot light is 7 watts, frosted, and is
similar to those on Christmas tree
lighting sets.

The receptacle-adapters for the
lamps are equipped with two prongs
for use in the ordinary convenience
outlet, each have a control switch in
the body and are fitted with snap-on
shades. The bodies are usually black,
but the shades may be had in either
black or ivory — both of a molded
composition.

While we're on the subject, why
wouldn't one or two extra of the 7
watt units be of aid to one's audience
in the usual home projection setup?

Laurence E. Baty, ACL
Salt Lake City, Utah

THREE WAY OUTLET, urged as aid to projection,
accepts pilot light, neon lamp and power cord.

News of the Industry

Up to the minute reports on new

products and services in the movie field

Daylight viewer Broad daylight

movie projection
on an 8 by 11% inch screen is made
possible by the new, portable Kodak
daylight projection viewer, which can
be set up anywhere on a desk or table.
The secret of the system is a special
mirror placed behind the screen. The
image is projected onto the mirror and
reflected from there to the daylight
screen, which in turn produces a bril-
liant picture.

An important part of the new system
is the Kodascope Sixteen-20 remote re-
versing switch, by which this projector
may be reversed at any point during
a screening. The reversal feature makes
the system of great use in re-running
sports plays for study purposes.

The Kodak daylight projection viewer
is priced at $47.50, complete with case.
The Kodascope Sixteen-20 remote re-
versing switch will be priced at $6.50.

Craig Fold-Away N e w C r a ig

Projecto-
Editor combinations feature a folding
base that allows the entire combination
to be housed compactly in a case

CRAIG'S Fold-Away base makes complex editing
combinations more portable. It will fit all new
Craig Editors and may be purchased separately.

A NEW electronic circuit cuts size, weight and cost
of the Ampro tape recorder, which retails for
$94.50. Tape cost is cut with the use of a dual
track on either 5 or 7 inch reels.

A MIRROR behind the screen
provides essential brilliance
for Kodak's daylight pro-
jection viewer. Note hand
switch for easy reversal of
film.

measuring only 16 by 14 by 15 inches.
The base is made from lightweight
metal finished in bronze crackle. Large
locking knobs make folding and un-
folding a one step operation, while in-
terlocking hinges make the base warp
and wobbleproof.

The Fold-Away bases will fit all new
Craig editors, and either bases or car-
rying cases may be purchased sepa-
rately. Fold-Away Projecto-Editor com-
binations are available in one 8mm.
and two 16mm. versions, with or with-
out carrying case. Further information
may be obtained by writing Craig
Manufacturing Company, 1053 S. Olive
Street, Los Angeles 15, Calif.

KineVGX recorder Latest addition
to the sound re-
cording field is the Kinevox portable
synchronous magnetic recorder, which,
instead of tape, uses 17^mm. oxide
coated safety base film, carrying regu-
lar positive perforations, and is sprocket
driven at a constant speed of ninety
feet per minute. The item is priced at
$1250. Full details may be had from
Kinevox, Inc., 4000 Riverside Drive,
Burbank, Calif.

Ampro recorder Weighing only

fifteen pounds
and measuring 8 by 8 by 11 inches,
the new Ampro tape recorder is the
first complete tape recording unit to be
sold for less than $100. The recorder
will record a full two hour program
on a single seven inch reel of tape.
The three-way recording system pro-
vides for "live" recording through the
microphone as well as pick-ups from
the radio or phonograph. Full details
and specifications may be had from
Ampro Corporation, 2835 N. Western
Avenue, Chicago 18, 111.

Official catalog Official Films,
Inc., 25 West 45th
Street, New York City, announces that
its new catalog, containing descriptions
of over 400 films, will be sent free of
charge to anyone requesting it. The
thirty six page, illustrated catalog lists
16mm. sound and silent films, in fea-
ture and short versions, and 8mm. films.
A majority of the films are also made
in Spanish and Portuguese versions.

Data Book The new 1950 edition
of General Electric
Company's pocket sized Photo Data
Book will be made available at fifty
cents, fifteen cents below last year's
price. Prepared by the photometric
section of the company's meter and in-
strument divisions, it contains informa-
tion and tables on exposures, shutter
speeds, filter factors and lens formulas,
as well as simplified instruction for
taking still and motion pictures.

English lenses Bel1 & Howell Com-
pany purchases of
lenses from Taylor, Taylor, Hobson,
English lens making firm of the J. Ar-
thur Rank Organization, will be mate-
riallv increased in 1950 because of' a
larger American demand for the prod-
uct. The English firm has been known
since 1886 as one of the world's lead-
ing producers of fine lenses, particu-
larly noted for a high color correction
factor. Bell & Howell Company is the
exclusive representative in the United
States for. Taylor, Taylor, Hobson.

Spectra meter Photo Research
Corporation, 127
W. Alameda Avenue, Burbank, Calif.,
manufacturer of the Spectra color tem-
perature meter, announces a vest
pocket model of the Spectra, to be on
the market shortly after the first of the

#sifi

^PtCTBA

PHOTO RESEARCH'S pocket model of the
Spectra color temperature meter reads for
Kelvin degrees as well as standard films.

year. The smaller meter will be known
as Type B. The user simply points it
at a source of illumination, rotates a
ring until the indicating needle is
brought to zero and reads from a scale
either the color temperature in degrees
Kelvin or the filter required to balance
the light with the color film being used.
Photo Research also announces a
new line of coated CT color tempera-
ture filters, to bring color film into per-
fect balance with the illumination fall-
ing on the scene. Called Spectra CT
filters, the line will include six bluish
and six yellowish filters, to raise and
lower color temperature by specified
amounts. Tables will be furnished to
cover their use with all ordinary light
sources, indoors and out.

Lighting booklet A serviceable,
pocket size book-
let on photographic lighting has been
issued by James H. Smith & Sons Cor-
poration, Griffith, Ind., manufacturers
of Victor photographic lighting equip-
ment. Advantages of three light sources
are pointed out, while particular stress
is placed on distances and positioning.
Tables and simple diagrams are scat-
tered throughout the booklet, which is
available free from the publisher.

Keystone cameras Three 16mm

spool film
movie cameras were recently introduced
by the Keystone Manufacturing Com-
pany, Boston, Mass. The Keystone A-12
features a twin lens turret and a built-in
wide angle viewfinder, plus three other
matched viewfinders which automatic-
ally fall into position as the turret is
rotated. The Keystone Model A-9 is a
single lens version of the A-12. And a
revised A-7 camera is equipped for the
first time with an //3.5 lens.

DeJUR's Embassy 8mm. camera, with f/2.5
lens, is priced at $99.50. it weighs 40 ounces
and is trimmed in brushed chromium.

KEYSTONE'S A-12 16mm. camera sells for
$98.00, including tax, equipped with f/2.5
lens. Price is $129.50 with f 1.9 lens and fo-
cusing mount.

THE CITATION, DeJur's first 8mm. roll loader,
is $69.50, tax included, with f/2.5 lens.

DeJur Eights Dejur-Amsco Corpo-
ration, Long Island
. City 1, N. Y., has added the Embassy
to its magazine loading 8mm. cameras
and has entered the roll loading 8mm.
field with the Citation. The Embassy
has six speeds, ten foot run on one
winding and a governor controlled
motor. It comes equipped with either
an //2.5 coated universal focus lens or
an //1.9 coated lens in either a fixed
focus or focusing mount. The Citation
boasts a "no-jam" gate and loading
simplicity. It is equipped with an //2.5
universal focus coated lens. Both cam-
eras have other lenses available at extra
cost.

Cine Balowstar The first W2 inch

//1.3 telephoto
lens — the 16mm. Cine Balowstar — is
now on the market. Developed by Dr.
Frank G. Back, already known for his
work on the Zoomar lens, the Cine
Balowstar will take color shots under
minimum light conditions, such as in
the flicker of firelight. The lens, which
is calibrated in both / and T stops, is
based on a new mathematical formula
by Dr. Back. There is no focus shift
when stopping the diaphragm down and

no loss of speed in focusing for close-
ups, due to the stationary rear element.
Only the front element moves.

The Cine Balowstar should prove
particularly effective for filming plays,
musical comedies and other spectacles.
It is equipped with a standard Kodak
mount and will fit most 16mm. cameras
— and practically all 16mm. and 8mm.
models with the use of an adapter. Re-
tailing at $199, tax included, the Cine
Balowstar is being distributed through
Jen Products Sales Company, 419 West
42nd Street, New York, JN. Y. Full
details may be had by writing the dis-
tributor.

Outdoor filter A new color correc-
tion filter, recom-
mended for use in outdoor color pho-
tography when atmospheric conditions
are unduly bluish, is announced by the
Eastman Kodak Company. The filter,
known as the Kodak Skylight filter, will
be available in Series IV, V, VI, VII
and VIII Kodak combination lens at-
tachment sizes as well as in two inch
and three inch gelatine film squares.

Aurora screens New screen mod-
els are announced
by Aurora Industries, 2251 South Michi-
gan Avenue, Chicago 16, 111. A four
page descriptive price list may be had
by writing the manufacturer.

Neumade offices New general offi
ces of Neumade
Products Corporation are located in the
McGraw-Hill Building at 330 West 42nd
Street, New York City. The consolida-
tion of all home office activities has
been made possible in these larger
quarters, and increased engineering fa-
cilities have been made available. Neu-
made was previously located at 427
West 42nd Street, New York City. It
maintains factories in Buffalo and Long
Island City, as well as New York.

LIGHTING problems are cut by the speed of
the new l'/i inch f/1.3 Cine Balowstar lens,
made by The Zoomar Corporation, which fits,
or may be adapted to, most 8 and 16mm.
cameras.

JANUARY 1950

U. S. Pat. No. 2260368

GOERZ AMERICAN

APOGOR

F:2.3

the movie lens with microscopic
definition successful cameramen
have been waiting for—

A new six element high quality lens for the 16 and
35 mm film camera. Corrected for all aberration at
full opening, giving highest definition in bIack-&-
white and color. Made by skilled technicians with
many years of optical training.

Fitted to precision focusing mount which moves
the lens smoothly without rotating elements or
shifting image.

This lens conies in C mount for 16 mm cameras.
Fitting to other cameras upon special order.

Sizes available now : 35 and 50 mm uncoaled
and 75 mm coated.

Write for prices, giving your dealer's na

*m GOERZ AMERICAN

OPTICAL COMPANY
OFFICE AND FACTORY

317 EAST 34 ST., NEW YORK 16, N. Y.

MM-1

WyjiUl MOTION PICTURE
i6«« PRINTERS &MK

CONTINUOUS— REDUCTION
Send for Descriptive Literature

UHLER C%m Mz&mGr.

15778 WYOMING AVE., DETROIT 21, MICH.

ess

»"""'. Your
Sound ■ • • ' H

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6060 SUNSET BLVD., HOLLYWOOD 28 CALIF.

Easy • Quick • Convenient
MOVIES BY MAIL

from our

FILM RENTAL LIBRARY

FREE!

Our 1950 Sound movie
catalog, hot off the
press. Feature pro-
grams as low as $3.50.
Write to Dept. R

PEERLESS

CAMERA
STORES

CloseupS — Ten Best contest report

Here, for those who are interested in
them, are the facts and figures of the
Ten Best competition for 1949.

The staff of the League examined in
that contest a total of 73,130 feet of
film. This, in projection terms, equals
45 hours and 40 minutes of unbroken
screen time, with no allowances for
threading, rewinding, or setting up and
rehearsing musical scores. This total
of submissions represents a 35 percent
increase in footage and a 73 percent
increase in number of entries over
1948. The 73,130 feet of film seen in
1949 break down into 8mm. vs. 16mm.,
color vs. black and white, as shown
below.

ALL FILMS SUBMITTED

1949 1948

8mm. 23% 16%

16mm. 77% 84%

Color 92% 94%

B & W 8% 6%

ALL FILMS HONORED

8mm. 6-20% 2- 8%

16mm. 25-80%
Color 28-90%
B & W 3-10%

8mm.
16mm.
Color
B & W

TEN BEST

3-30%
7-70%
9-90%
1-10%

23- 92%

2- 8%

1- 10%

9- 90%

10-100%

0- 0%

HONORABLE MENTION

8mm. 3-14% 1- 7%

16mm. 18-86% 14- 93%

Color 19-90% 13- 87%

B & W 2-10% 2- 13%

r I NEST HOME

138 E.44th St.,New York 17.N.Y.

Stimulating as these data are, how-
ever, there are still other aspects of the
Ten Best contest for 1949 which may in-
terest many amateurs. For example . . .

(1) Of the total of thirty one film-
ers honored in 1949, twenty four of
them (including the Maxim Award
winner) had never placed in our con-
test before. Eight of these new winners
were among the Ten Best, with sixteen
of them among the twenty one winners
of Honorable Mention.

(2) Of the total of thirty one films
honored, twenty one of them were ac-
companied by sound of some kind re-
produced in some manner. Nine win-
ners had no sound. Of the twenty one
which did, thirteen presented it on disc,
five on magnetic recordings and three
via the sound on film track.

(3) Of the thirty one films honored,
the types of subject matter treatment
break down as follows: Story — thir-
teen ; Travel — seven ; Documentary —
six; Tone Poem — four; Family — one.
The story total of thirteen strikes us as
by far the most impressive, in view of
the fact that this form of film making
is generally regarded as the most diffi-
cult for the amateur producer.

Our reactions to one or another
phase of these figures were first stated
in Renascence, the editorial of Decem-
ber Movie Makers. Still further com-
ments are to be found in this issue un-
der the heading 8mm. On The March.
All in all, we believe that 1949 may
well mark a milestone in amateur
movies.

What the above figures do not dis-
close— although it's a matter of equal
import — is what manner of man is
Glen H. Turner, ACL, Maxim Award
winner for 1949. Consumed with curi-
osity, just as you are, we up and asked
him a few pertinent questions. Here's
a digest of his dossier.

Glen Turner began filming two and
a half years ago, using the same Filmo
Sportster 8 with which he created One
Summer Day. Although this picture is
his ninth complete job (titles, back-
ground music, etc.), Turner had never
entered a film in any level of competi-
tion before hitting the jackpot in this
year's Ten Best. "It only goes to show,"
he admits rather reasonably, "that
there's no harm in trying."

On the more personal side, Turner
admits to being thirty one years of age,
married for eleven of them, and the
father of two boys and two girls. , A
native Utahan, he has been an assistant
professor of art at Brigham Young
University, in Provo, since 1947. Make-
it-yourself hobbies such as woodcarv-
ing, model building and lost-wax bronze
casting are in his background, as is a
bit of flying — for which he holds a pri-
vate pilot's ticket. "I gave up flying in
preference to movies," he writes. "You
have more to show for it after a year
of movie making."

Apparently he's right. What Glen
Turner had to show for it was the
Maxim Award for 1949.

MOVIE MAKERS

High hickory

[Continued from page 11]

passing you on the way down and, for
a most effective shot of all, film your
own moving shadow on the snow below.
It's a good idea to shoot all of this at
24 or 32 frames a second to smooth out
the motion.

Upon arrival at the summit, build up
a brief sequence of the skiers getting
off the chairs. Remember the crack
skier you filmed at the bottom? You
can weave a little story around him
with no trouble at all. You have him
getting on the lift; now follow through
with scenes of him getting off, making
his final adjustments to gear and then
his start down. If necessary, wait for
him to make several trips. Most skiers
buy a day's pass for the lift and will
average ten trips, depending on the
length of the course.

JUMPING IS SPECTACULAR

Of the three types of championship
skiing — namely slalom, downhill and
jumping — the last named is by far the
most spectacular movie-wise. Imagine,
if you can, a man soaring nearly 300
feet into space with only a pair of skis
and two arms for wings. It takes per-
fect balance, split second timing and a
pair of strong legs. Only the best com-
pete in this dangerous sport.

To picture it properly, again use the
one-two-three treatment. Catch the
judges, the announcer, the loudspeak-
ers, the hot dog stand, spectators eating
and drinking steaming coffee and the
jumpers on their way up to the run-
way. Then in a flash of tense action,
comes the roaring run, the swooping
takeoff and the landing.

Varied camera angles again are es-
sential, as well as varied camera
speeds. Film the actual jump from
about a forty five degree angle, using
a telephoto and slow motion.

SLALOM AND DOWNHILL
Although quite colorful and exciting,
slalom and downhill racing are some-
what more difficult to picture. With the
contestants running more of a distance
course, generally at high speed, there
is little if any time to change location.
However, a team of filmers . may work
together, one at the start and the other
at the finish, or you can build up your
own record over several different tries.
The use of a telephoto is again advan-
tageous for this type of ski filming.

In closing, just a few words on edit-
ing. Remember! Keep it short. No mat-
ter how well a scene is photographed.
or how beautiful it may be, it is of no
use in your film unless it adds to con-
tinuity, or has a specific meaning. It is
always better to have an audience
clamor for more than to be bored with
too much.

TITRA..

titles that TALK!

NEW HORIZONS OPENED
TO EVERY AMATEUR!

Here are a few of the many new ways
to improve your films by use of the
TITRA titles:

• You may record the first words of your child
and superimpose them on the screen as
actually spoken.

9 You may arrange brief plays to be enacted
by you and your family and subtitle the
spoken lines.

• You may title speeches or comments at
parties, birthdays, weddings, outings, re-
unions, etc.

• You may imprint jokes and spontaneous
observations of people while acting or just
moving around.

In short, your films will live, speak,

explain, comment— all by use of

TITRA . . . titles that TALK!

Send for Folder • Ask for Price List

WHITE SPARKLING
TITLES ETCHED
IN DIRECTLY
ON YOUR COLOR
OR BLACK & WHITE
ORIGINALS!

IfottA, Qilml

' Eliminates splices for
cut-in titles . . . Pro-
tects against film
break.

Doesn't interrupt the
picture . . . Titles and
action appear at the
same time.

Professional appear-
ance is assured . . .
Expression and "dia-
logue" are seen to-
gether.

Permits rapid change
of dialogue.

Write to Dept. M-M-A.

TITRA Film Laboratories, inc.

1600 Broadway
New York (19) N.Y.

Telephone
PLaza 7-2875-6

JANUARY 1950

THE TRI-LITE

(Pat. Pend.)

IT'S NEW. IT'S DIFFERENT

FOR THOSE INDOOR PICTURES

A light at 3 points around the camera lens,
which makes for sharper pictures. Eliminates
shadows so ideal for color film. Fits all
cameras. Handle fits on tripod. Off and on
switch. 15 feet of cord.

Shipped postpaid on receipt of $3.95, check
or money order.

Try it 10 days, if not satisfied return it and
get your money back. Lights not included.

WALTER WILLIAMS

1S237 Promenade

Detroit 24, Mich.

DISTINCTIVE EXPERT

TITLES and EDITING

For the Amateur and Professional

16 mm. — 8 mm.

Black & White and Kodachrome

Price list on request

S T A H L

EDITING AND TITLING SERVICE
33 West 42 St. New York, N.

Two 3/ stamps for giant catalogue. State size.

8-16mm Silent, Sound,
Sales, Rental, Exchanges.

REED & REEO DISTRIBUTORS, INC.
7500 3rd AVE., BROOKLYN 9, N. V.

2V4 x 3'/4 COLOR PRINTS 50c each

Price of larger prints on request
From 8 and 16mm Color Film

Send 3 frames or tie thread next to frame

desired. Add 25c handling charge on

orders of less than $5.00. No C.O.D.'s.

HOUSE OF COLOR

1108 Seal Way Seal Beach, Calif.

8MM<— 16MM
KODACHROME
BLACK V WHITS ,

8 MM
Enlarged to 16,
I6MM Reduced to 8.
[Free Catalog on Request.

&^ NATIONAL CINm LAB

BOX+4-Z5 -WASHINGTON /7, DC

APPROVED NEW LIST
ON REQUEST!

Add these unusual films to your home movie
library now! 100 ft. releases 8mm $5.50; 16mm
$6.00. available with sound.

u TASC0 SUPPLY CO. m

P. O. BOX 6, NORTH STATION
PROVIDENCE, R. I.

Direct sunlight

Hazv sun

Open shade, clear sky

Cloudy bright

Cloudy dull

RECOMMENDED EXPOSURES

Average subjects f/8

Light subjects between f/8 and f/11

Dark subjects " f/5.6 and f/8

Average subjects f/5.6

Light subjects between f/5.6 and f/8

Dark subjects " f/4 and f/5.6

Average subjects f/2.8

Light subjects between f /2.S and f/4

Dark subjects " f/1.9 and f/2.8

Average subjects f/4

Light subjects between f/4 and f/5.6

Dark subjects " f/2.8 and f/4

Average subjects f/2.8

Light subjects between f/2.8 and f/4

Dark subjects " f/1.9 and f/2.8

Movies in color: 2

[Continued from page 18]

sunlight. If a rim-lighted or halo effect
is desired, give one full stop more than
for front lighting. If details in the shaded
area must stand out, give two full stops
more under the same conditions.

TYPE OF SUBJECT IMPORTANT

The second category into which scenes
fall concerns itself with the objects in a
particular scene. Generally speaking, all
subject matter may be classed as either
light-colored, dark-colored or, if it is in
between, as average. The color or tone
of the principal objects in a scene (those
which must be reproduced faithfully on
the screen) will influence the exposure
greatly. Average subjects will require a
particular diaphragm stop, whereas if
the subjects are light-colored, one half
stop less exposure will be correct. Con-
versely, if the subjects are dark-colored,
one half stop more exposure should be
given.

For this reason a filmer will familiarize
himself with the color or tone of stand-
ard scenes so that he can readily classify
them when he is using the instructions
packed with the film.

For example:

Average subjects. Light and dark ob-
jects combined in equal proportions, all
being given the benefit of the same gen-
eral illumination. Also, objects whose
tone or color is roughly in between light
and dark.

Light-colored subjects. Beach and
snow scenes, light-colored flowers, peo-
ple in white clothing, light-colored build-
ings, closeups of fair-skinned persons
and all other subjects light in tone.

Dark-colored subjects. Dark foliage,
deep-colored flowers, dark animals, dark-
colored buildings and similar subjects.

It is by combining these two catego-
ries— light conditions and types of sub-
ject matter — that the following exposure
table is worked out for Daylight Type
color film.

The above exposures, which should be

followed for both close and distant views,
are for front lighting. They will also be
affected in each case by the compensa-
tion for side or back lighting already
mentioned. When in doubt as to whether
a subject is light or dark, the average
exposure should be given. The guide is
intended for use in both temperate and
tropical zones.

(Movies in Color, which began in De-
cember, 1949, presents in four install-
ments the completely new text of Chap-
ter XVII from the recently revised edi-
tion of The ACL Movie Book. Part 3
will follow in February — The Editors.)

Adventures
in animation

[Continued from page 13]

sequences, one sixteenth of one revolu-
tion was the amount that they were
moved between each frame.

Some actions, however, are so slow
that the movements between frames
would be so slight as to be impractical.
One such scene, which called for the
pirate and his crew to approach the
cafe very stealthily, was animated as
follows: The pirate was moved the
same amount as in ordinary walking,
but instead of exposing only one frame
in between each movement of the fig-
ures, several frames were exposed. On
pauses between steps, as high as eight
frames were exposed while the figures
remained in one position. The resulting
action on the screen, though sometimes
slightly jerky, was dramatically quite
satisfactory.

MOVING THE ENTIRE FIGURE

The second type of animation used
we decided to call manipulation. This
process involves holding the figures or
objects by some portion of their an-
atomy that is out of camera range and
moving the entire figure to simulate
certain movements. The camera is, of
course, run in the usual manner at its
sixteen frames per second speed. In

MOVIE MAKERS

changing from animation to manipula-
tion it is well to remember that the
shutter speeds are different, and that
corresponding aperture corrections
must be made.

Our most elaborate attempt in the
manipulation of characters and objects
was toward the end of the film. The
scene as planned called for the hero
and heroine to escape from the burn-
ing pirate ship in a fishing boat. Then,
as they sailed away, the pirate ship was
to sink in flames. Not wanting actually
to burn the pirate ship (a retake might
be necessary), it was arranged as fol-
lows:

FILMING THE FIRE SEQUENCE

The scene was set up out of doors
at night so we could have plenty of
space and darkness. The camera opera-
tor (yours truly) — with his eye to the
viewfinder and one finger on the shut-
ter release — rocked the fishing boat to
and fro just within the lower edge of
the field of vision. The boat was lighted
with a No. 2 photoflood placed slightly
to one side.

About ten feet away and to the rear
was a pan of burning, oil-soaked rags.
These were placed behind a wooden
baffle, so that the flames showed as
though burning from the water level
upward. Beyond the fire, Lucille (my
understanding wife — you can't make
movies without one) gently lowered the
pirate ship until it disappeared below
the level of the wooden baffle. The pi-
rate ship, which was well beyond the
fire, was lighted from below by a No. 2
photoflood. All this for a few seconds
of fire and confusion!

Animated movies are quite a malady,
with both headaches and rich rewards.
They offer opportunities for imagina-
tive movie making that are hard to
duplicate with live actors. Take the
problem of sets alone. For a few cents
worth of paper, paint and glue it is
possible to create settings that, if made
large enough to accommodate live ac-
tors, would be out of reach financially
for the average amateur. Animated
movies offer a chance to go to Tim-
buctoo and back again, right in your
own living room. The motion picture
screen is a great equalizer. The pro-
jected image from a tiny object no
bigger than your hand can seem just
as vital as mountains and oceans, pro-
vided the scale is right. And it can be
much more imaginative and fanciful.
If you like to dabble in the world of
make believe, puppets and their possi-
bilities for animation are of its essence.

ow-

SYNCHRONIZED

SOUND FOR YOUR

8 AND 16
HOME MOVIES

tk MOVIEVOX

Now You Can Add Perfect "Lip-Sync" Sound
to Home Movies Using Your Present Projector

Now you can dub sound on a wire recorder and
play back in perfect synchronization. The new MOVIE-
VOX synchronizer keeps projector and recorder in
perfect step — every time — automatically. Mistakes
made in recording can be magnetically erased and
quickly corrected. You can't miss with the MOVIE-
VOX! Connects to any 8mm or 16mm projector-
silent or sound.

MOVIEVOX — complete with synchronizer,
microphone, amplifier, wire recorder,
speaker, all necessary cords — sells at
your dealer's for $225.00. Or the
MOVIEVOX synchronizer can be installed
on your Webster wire recorder and
projector for only $75.00. See your
dealer today — or write for illustrated
literature.

MOVIEVOX

Dept. M, 1113 PLEASANTON ROAD

SAN ANTONIO 4, TEXAS

CKISWOLV

FILM SPLICERS

for every size and type of film,
sound and silent, perforated and
non-perforated, write for details

CRISWOLD MACHINE WORKS

Dep't A, Port Jefferson, N. Y.

PHOTOGRAPHY

To give your home movies that "professional
touch." TRAIN in ALL phases of photography.
Our Home Study Course includes valuable instruc-
tion in 16mm movies. Resident Training in ALL
branches of "still" work. WRITE TODAY! '

NEW YORK INSTITUTE
OF PHOTOGRAPHY

iDept. "105." 10 W. 33 St.. New York. N. Y.

""'" ■«»«**«

THE ONLY BOOK DEVOTED EXCLUSIVELY TO TITLES
Every step explained, simply and thoroughly.

It Answers Every Title
Making Problem

:, HOW TO TITLE

■» HomE moviES

Sold Only by Mail

?MA!L A DOLLAR BILL TODAYS

WESTWOOD SALES CO. 635 victoria avenue, san francisco 27. California.

JANUARY 1950

16 M^iiM

8MAA

miiM'

sou**0

16 MM

and

8MM

Motion
Picture
.Service

WRITE

FOR

PRICES

DEPT. M

GEO.W.COLBURN LABORATORY, Inc.

164 N. WACKER DRIVE, CHICAGO 6, ILL.

UNUSUAL MOVIES

"JUDY"

"MAZIE"

"OLGA"

"MIMI"

"LUPE"

8mm 50 Ft. $2.75

16mm 100 Ft. $6.00

16mm 100 Ft.

Sound $8.75

"UNA"

"ZARA"

"SALOME"

"SANDRA"

"VIOLA"

8mm 100 Ft. $5.50

16mm 200 Ft. $11.50

16mm 200 Ft.

Sound $14.75

SEND FOR FREE LIST

Walt Disney color .lide.-" »"f " " l"2

with viewer-$3.25

CAMERA SHOP

760 BROAD STREET - PROVIDENCE 7, R. I.

MOVIE AND SLIDE TITLES

STILL AT SAME LOW PRICESI
Same titles formerly distributed by Bell & Howell
— now sold direct. Large variety backgrounds
available. No charge for tinting film Amber 1
WRITE FOR free illustrated brochure and samfles
TITLE-CRAFT, 1022 Argyle St., Chicago 40, III.

ACL MEMBERS: The ACL has on hand a
limited number of 8mm. black and white
ACL leaders. Normally priced at 50< , they
are available at 35c each as long as the
supply lasts. Send orders and remittances
to the Amateur Cinema League, 420 Lex-
ington Avenue, New York 17, N. Y.

IV4CUIIIHU,

FILM PROTECTIVE PROCESS

THE SUPER

vap Orate

PROTECTS AGAINST Scratches, Fingermarks,
Oil, Water and Climatic Changes.

■ ONE TREATMENT
LASTS THE LIFE
OF THE FILM

BRITTLE FILM REJUVENATED
"IT'S NEVER TOO LATE TO VACUUMATE"

Available through your local dealer or at

Vocuumate Corp., New York

(VapOrate Co., Inc., Sole Sales Agent)

General Film Lab., Detroit, Mich.

Geo. W. Colburn Lab., Chicago, III.

National Cine Labs., Washington, D. C.

Photo & Sound Co., San Francisco, Cal.

LATE RELEASES

Features and short subjects for 8mm. and 16mm. screens

Beauty, Rumpelstiltskin, Rapunzel and
The Bear Skin. The films, which fea-
ture "live" action instead of puppet or
cartoon work, are available in 8mm.
and 16mm. sound versions. Others are
being edited and will be released
shortly.

■ Three on a Trail, Bar-20 Rides
Again and Heart of the West, one reel
each, black and white, are available at
photo dealers in two 8mm. and three
16mm. editions, including sound. They
are distributed by Castle Films, di-
vision of United World Films, Inc.
Hopalong Cassidy, popular follower in
the tradition of William S. Hart as
a Western star, rides across the screen
in three more of his thrillers.

• Tiger Fangs, one reel, black and
white, is available in five standard
8mm. and 16mm. sizes from Official
Films, Inc., 25 West 45th Street, New
York 19, N. Y. The famed Frank
(Bring 'Em Back Alive) Buck tackles
the problem of some man-eating tigers
that have been terrorizing whole vil-
lages. It's safe to say that Mr. Buck
is not eaten, but the reel has its share
of chilling moments.

■ Colt Comrades, seven reels, 16mm.
sound, black and white, is distributed
by Commonwealth Pictures Corpora-
tion, 723 Seventh Avenue, New York
19, N. Y. A feature-length Hopalong
Cassidy film, Colt Comrades displays
William Boyd, Andy Clyde and Jay
fvirby on the alert for cattle rustlers,
with plenty of riding and shooting.
There are lots of dangerous moments
for our heroes, but the despicable raid-
ers get their just desserts in the end.

B A series of fairy tales is being re-
leased by Sterling Films, Inc., 316
West 57th Street, New York 19, N. Y.
Currently available are Cinderella.
Beauty and the Beast, The Sleeping

B Dillinger, eight reels, 16mm. sound,
black and white, may be obtained
from Post Pictures Corporation, 115
West 45th Street, New York 19, N. Y.
Lawrence Tierney, as Dillinger, proves
that crime doesn't pay. Dillinger's col-
orful but offensive antics are followed
from the time of his first robbery to
his eventual end at the hands of the
FBI. Anne Jeffreys and Edmund Lowe
are among those who run into Amer-
ica's Public Enemv Number 1.

• Guiding Star, three reels, 16mm.
sound, black and white, may be rented
from Family Films, Inc., Hollywood,
Calif. Uncle Henry, a man who be-
lieves in the Christmas spirit 365 days
of the year, enlightens an embittered
mother and reunites an unhappy and
misguided family group. The film is
aimed at home, school and church mar-
kets.

^06^

MOVIE MAKERS

TITLES

THAT TALK

HAVE you wondered how those
smooth-flowing dialog subtitles
were superimposed on just the right
scenes in foreign language films? Have
you wanted to use this same technique
yourself in your family or travel pic-
tures? If so, perhaps Titra, the new
"titles that talk," may be the answer.
For with the Titra technique now
being offered for the first time in the
16mm. field, you can superimpose a
title directly on any scene in your film
after it is processed and edited.

There have, of course, been other
methods in the past which accom-
plished the same ends. With black-and-
white foreign language releases, for in-
stance, the producer could photograph
his subtitles in negative on one strip
of film, prepare a negative version of
his picture on another film, and then
run the two of them through a labora-
tory printer for a positive release print
with superimposed titles.

In the amateur field, however, this
negative-positive system was not easily
employed. Even in black and white
emulsions, the amateur was working
generally with reversal film for which
there was no negative. With the advent
of color stock — for which no negative
existed nor could be made — the double
printing process was out of the ques-
tion. It was then double exposure, or
nothing.

With the Titra titling system the
need for either of these methods is
done away with. For in the Titra sys-
tem the clear white lettering of one's
subtitles are etched chemically into the
emulsion of each selected series of
scenes. Here's the step by step process,
as it is now being offered the 16mm.
amateur.

A filmer planning to employ titles by
Titra first edits his footage according-
ly, selects the scenes he wants titled
and prepares the title copy he desires
imprinted on these scenes. With this
title copy in the hands of Titra tech-
nicians, each caption is now set up
separately in type and press printed

110 Volt AC/DC

Variable Speed Motor

With TACHOMETER
for EK Cine Special

Now you can motor
drive your Cine Spe-
cial with confidence.

Tachometer is mounted in
clear view of operator. It is
calibrated from 16 frames
per second to 64 fps. with
a definite RED marking for
24 fps.

Electrical governor control for adjusting speeds. Steady operation
at all speeds. "OFF-ON" switch built into motor base. No adaptors
required, except motor-coupling which attaches to camera and
couples to motor.

Motor shaft equipped with spring steel drive arm which will shear
if camera jam occurs. This drive arm is easily replaced.

Furnished complete with rubber-
covered cable and plugs. Write for
complete details.

(7flm€Rfl€ourpni?nT(o.

VJ^ 1600 BROHOUJHS n€W HORK CITS >^^

STOP APOLOGIZING FOR
YOUR MOVIE TITLES

Write today for a FKEE A-to-Z Sample Title Test
Kit. Make titles that are different . . . better and
tailored to your taste. Try our method . . . FREE.
COMPLETE COLOR OR B.&.W. OUTFIT $6.50

A-to-Z MOVIE ACCESSORIES

175 Fifth Avenue Dept. M New York 10, N. Y.

ARE YOUR LENSES

UP TO DATE?

Our lens coating, applied under high vacuum by skilled
technicians, will help you get the kind of pictures
you have always been seeking. Get purer colors, better
shadow details and a faster lens. Highest quality and
LOWEST PRICES. WRITE TODAY. $6.50 and up.

CENTURY PRECISION CO.

Coating Dept. 11960 Wilshire, Los Angeles 25. Calif.

HOME
MOVIES

DESIGNED
TO DELIGHT!

HELENE DIST. CO.

182 Peace St.

Prov., R. I.

The
Wrylatest

New 100 ft. re-
leases 16mm S6.00,
available in sound;
8mm $5.50.

FREE LIST
ON REQUEST

DRAMATIC
WORKSHOP

AND TECHNICAL
INSTITUTE

Under the guidance of a top-notch
faculty you can turn your hobby into a
profession! Complete studio equipment!

Erwin Piscator,
Director

A TITRA technician checks copy as press etches
titles directly on processed film.

FILM, RADIO,
TELEVISION

Approved by Veterans' Administration. Spring Term
starts Feb. 7.

For Detailed Information and Catalog, Write cr
Phone: PRESIDENT THEATRE, 247 W. 48 ST., N. Y.

19 (N) JU 6-4800

FACULTY:
Arthur Knight: Chairm.
Rudy Bretz: Telev.
Eric Cripps: Film Techn.
Gene Forrell: Film Mus.
Robert Mannum: Telev.
Leo Hurwitz: Film Techn.
Lewis Jacobs: Film Techn.
Edward Mabley:

Telev. Writg.
Paul de Troff: Cinematog.
Harry Robin: Sound
Nathan L. Rudich :

Radio & Telev.
Ray Sherwin: Animation
Ira Wit: Film Industry

Classified a d v e r t i s i

"§

■ Cash required with order. The closing date for
the receipt of copy is the tenth of the month pre-
ceding issue. Remittance to cover goods offered
for sale in this department should be made to the
advertiser and not to Movie Makers. New classi-
fied advertisers are requested to furnish references.

■ Movie Makers does not always examine the
equipment or films offered for sale in CLASSI-
FIED ADVERTISING and cannot state whether
these are new or used. Prospective purchasers
should ascertain this fact from advertisers before
buying.

10 Cents a Word

Minimum Charge $2

■ Words in capitals, except first word and name,
5 cents extra.

EQUIPMENT FOR SALE

■ BASS SAYS: I've traded fair, I've traded square
with folks the world 'round everywhere. If you would
buy, or sell or trade, A Bass deal is the best that's
made. CHARLES BASS, President. 8mm. Movikon
K, Sonnar //2, 3x telephoto attachment, case,
S125.00; Bolex H-8, Cooke f/2.5 fixed focus, lap
dissolve, 1%" Berthiot //3.S, 3" Berthiot //3.5, case,
S245.00; factory new 200 ft. magazines for Cine
Special, black, $275.00; Bolex H-16, Plasmat //1.5,
1" fixed focus and wide angle attachment, 3" Trio-
plan //2.8 coated, comb. case. S295.00; 16mm. Zeiss
Movikon, Sonnar //1.4, $325.00; like new 16mm.
B. & H. 70DA, 1" Cooke f/l.S coated, 17mm. wide
angle Wollensak //2.7 foe. mt., 4" Dallmeyer //4,
$325.00. We buy 'em, sell 'em, and trade 'em. Com-
plete stocks of new Cine Equipment, all makes.
BASS CAMERA COMPANY, Dept. CC, 179 W. Madi-
son St., Chicago 2, 111.

■ GUARANTEED fresh F-A-S-T Pan Film, $1.65;
25' (8-8mm.), $1.65; 25' 8mm. color, $4.10; 25'
8mm. color base, $2.25; 100' 16mm. outdoor film
(anti-halo) , $3.45. Free machine processing. MK
PHOTO, 451 Continental, Detroit (14), Mich.

■ SYNCHRONOUS motors furnished and installed
on cameras, projectors and recorders. Synchronous
projectors for rent. Estimates furnished if desired.
M. W. PALMER, 468 Riverside Drive, New York 27,

N. Y.

■ BOLEX H-16, like new, 1" //1.5 lens and case.
$249.00; Kodak Model K with 1" f/1.9 lens and
ca9e, excellent condition, $95.00; Kodascope FS-10N
sound projector complete in one case, like new,
$225.00. Many other 16mm. cameras, projectors, and
home lab equipment. Colortran converters to boost
ordinary 150 watt bulbs to 750 watt floods, $27.50.
THE CAMERA MART, Inc., 70 West 45th Street,
New York.

■ CINE-KODAK Special, two magazines, Mitchell
finder, Bardwell-McAlister matte box, sync motor,
Kodak anastigmat wide angle //2.7, deluxe case,
excellent condition. Sacrifice. MUrray Hill 7-8377.
MR. DOWNEY, Room 406, 342 Madison Ave., N.Y.C.

■ CINE LENSES— High speed, wide angle, tele-
photo. For those sparkling outdoor and indoor
winter pictures. COATED FOR 8MM CAMERAS;
9mm. //2.5 Wollensak wide angle universal focus,
$43.75; y2" f/1.9 Berthiot Cinor (focusing mount),
$39.50; 1%'' //3.5 telephoto anastigmat (3 time
magnification) (in focusing mount), $36.50. IN
FOCUSING MOUNTS COATED FOR 16MM CAM-
ERAS: 17mm. //2.7 Carl Meyer wide angle, $49.50;
1" f/1.9 Wollensak Raptar, $58.09; 2" //2 Schnei-
der Xenon, $99.50; 3" //2.8 Carl Zeiss Tessar, $109.50;
6" //5.5 Schneider Tele-Xenar, $124.50. These are
only a few of our tremendous selection — the world's
largest stock of lenses — we have what you want —
15 day trial — satisfaction guaranteed — send this ad
in for free catalog and lens list. BURKE & JAMES,
Inc., 321 So. Wabash Ave., Chicago, 111., U.S.A.
Att: M. A. Milford.

FILMS WANTED

■ I BUY— sell, swap, rent S. 0. F., 8 and 16mm.
films, list free. HARVEY IRIS, Box 539, Brockton,

Mass.

FILMS FOR EXCHANGE

■ EXCHANGE or buy used movie films. Mention
your MM. Write GALLARD'S EXCHANGE CLUB,
29 Coe Ave., Hillside 5, N. J.

FILMS FOR RENTAL OR SALE

■ CASTLE Films for sale; 8mm. -16mm. silent and
sound; complete stock, orders shipped dav received
by STANLEY-WINTHROP'S, Inc., 90 Washington
St., Quincy 69, Mass.

■ 400 FT. 16mm. silent subjects, all good condi-
tion, Castle, Official, etc., $4.50 each; 3 for $13.00.
Sound subjects, $7.50 to $9.00; guaranteed perfect.
8mm. subjects, 200 ft., perfect, $2.50; include
postage; specify list wanted. ABBE, 503 Fifth Ave.,
N. Y. 17.

■ USED and New Castle films, 8-16, silent and
sound. Send for lists. ALVES PHOTO SERVICE,
Inc., 14 Storrs Ave., Braintree 84, Mass.

■ UNUSUAL industrial and educational film sources,
many hard to find subjects. All films rented with-
out charge. New list, $1.00. INTERNATIONAL
CINE SOCIETY, 126 Lexington Ave., Dept. R, New
York 16, N. Y.

■ CLEARANCE Sale: 200 ft. 8mm. subjects, $2.50;
400 ft. 16mm., $4.00. Cartoons, News, Sports, etc.,
like new. Send check or money order. SAMSON'S,
Pine & Portland Sts., Providence 7, Rhode Island.

■ UNUSUAL films: 8mm. 50 ft., $2.75; 16mm. 100
ft., $6.00; 10 color slides, $2.50. Send for free
list. SHAWMUT PRODUCTIONS, P 0. Box 132,
Elmwood Station, Providence 7, R. I.

Q FOR sale: Sound film library & projectors. Sac-
rifice; free list. HAWLEY, 3719 English., Indian-
apolis, Ind.

■ UNUSUAL movies: 8mm. 50 ft., $2.75; 8mm.
100 ft., $5.50; 16mm. 100 ft., $6.00; with sound.
$8.75; 16mm. 200 ft., $11.50; with sound, $14.75.
Send for free list. CAMERA SHOP, 760 Broad St.,
Providence 7, R. I.

■ FASCINATING films: 8mm. 50 ft., $2.75; 16mm.
100 ft., $6.00; 10 color slides, $2.50, with viewer,
$3.25. Send for free list. PROVIDENCE FILM EX-
CHANGE, P. O. Box 157, Olneyville Station, Provi-
dence, R. I.

MISCELLANEOUS

■ KODACHROME DUPLICATES: 8mm., or 16mm.,
11£ per foot. Immediate service on mail orders,
HOLLYWOOD 16MM. INDUSTRIES, Inc., 6060 Hol-
lywood Blvd., Hollywood 28, Calif.

■ SOUND RECORDING at a reasonable cost. High
fidelity 16 or 35. Quality guaranteed. Complete stu-
dio and laboratory services. Color printing and
lacquer coating. ESCAR MOTION PICTURE SER-
VICE, Inc., 7315 Carnegie Ave., Cleveland 3, Ohio.
Phone: Endicott 2707.

| TWO 4x5 bl. & w. enlargements and negative
from your moviefilm, or one colorprint from color-
film. Send frames and one dollar. CURIOPHOTO.
1187 Jerome Ave., New York 52.

■ RIFLES, shotguns, pistols — Firearms of all types,
all makes taken on trade towards ALL photographic
equipment. Highest trade-in-allowance at NATIONAL
CAMERA EXCHANGE, 86 So. Sixth St., Minneapolis
2, Minnesota. Authorized agents for Eastman, Argus.
Revere, Bell & Howell, Keystone, Graflex — in fact
every great name in photography. Trade your fire-
arms on photographic equipment now.

■ NO negative? ? ? Send picture and $1.00 for
new negative and 2 5x7 enlargements to CURIO
PHOTO, 1187 Jerome Ave., New York, N. Y.

1949
BINDERS

MOVIE MAKERS offers an at-
tractive, black fabrikoid,
gold lettered binder for your
copies of this magazine. A
metal device enables you to
insert and remove the maga-
zines easily.

Price $2.50

Send your order

accompanied by remittance

MOVIE MAKERS

420 LEXINGTON AVE.
NEW YORK 17, N. Y.

JANUARY 1950

in black on a white card. Each of these
cards is then photographed in a still
picture negative and at the same time
reduced to the actual size of the film
frame.

From these reduced negatives indi-
vidual metal stencils are now cut for
each of the subtitles ordered, and these
stencils are placed in order in a press
of Titra's own design. The entire reel
of film to be titled is then coated with
a thin layer of protective material. With
the prepared film threaded through the
same press, the stencils are now im-
pressed in order on the scenes indi-
cated, the protective layer is removed
in the exact outlines of the title let-
ters and these letters are in turn
bleached out in clear white from the
underlying emulsion.

Using the
wide angle lens

[Continued from page 16]

It should be noted, however (see Figs.
1 and 1-A) , that the increase in area
covered takes place in both directions
— vertical as well as horizontal. Be-
cause of the connotation of the name
(wide angle), some filmers tend to
think of this increase only in horizon-
tal terms. The increased field is truly
one of area. As such, it is generally
about four times that of the standard
lens.

INCREASED DEPTH OF FIELD
Important as can be the larger area;
covered by the wide angle lens, this is
not its only interesting and effective
characteristic. Often of almost equal
importance is its ability to picture a
given scene with increased depth of
field. This property is made possible,
of course, by the shorter focal length
of the lens, which, even at the wide
apertures demanded by poor light con-
ditions, is able to pull more objects — -
front and back — into acceptable focus.
A dramatic example of this facility
is pictured in Figs. 2 and 2-A. In Fig.
2, made with a standard lens, only
the girl at extreme left is in sharp
focus. In Fig. 2-A, all figures facing
the camera are in good focus. Further-
more, because of the deepening effect
which this lens has on perspective, the
entire group composes more comfort-
ably within the picture area.

ACCELERATED MOTION
A third and almost magical effect
of the wide angle lens is its ability
seemingly to accelerate motion (espe-
cially from back to front) within the
scene. We are all familiar with the
slowing effect of the telephoto — how
the race horses round the turn, pound
up the stretch, but never seem to get
anywhere. This visual trickery is ere-

MOVIE MAKERS

ated by the compressive effect of the
telephoto on perspective.

The visual effect of the wide angle
lens on back-to-front movement is ex-
actly the opposite; it seems to speed
it up. This movie magic is created by
the lens's characteristic lengthening of
perspective. Dramatic proof of this,
amazingly dynamic for still pictures,
is found in the comparative sets of
illustrations 3 and 3-A. Here is an op-
tical control which the creative camera-
man may well use more often.

Now, sound on film!

[Continued from page 14]

PRECISION PHOTO FEATURES

Not only is the Cine-Voice a sound
recording camera, but it is also a pre-
cision-built photographic instrument.
The film is handled at the picture gate
on stainless steel balls, a patented
Auricon feature used until now only on
16mm. professional cameras. The in-
termittent film pull-down claw is of
hardened steel, precision-ground to
size. It moves the film so gently from
one picture frame to the next that its
operation — and in fact the entire Auri-
con film movement — is not picked up
by the sound recording microphone.
The body of the Cine-Voice camera is
of solid aluminum, precision-machined
for ruggedness and light weight. The
camera takes C mount lenses, such as
are used with most popular 16mm.
cameras today.

A control panel at the rear of the
Cine-Voice provides plugs for connect-
ing the camera to the sound recording
amplifier and also for connecting the
camera's electric motor drive to a
source of 110 volt 60 cycle alternating
current. A pilot light on this panel
shows a red light when the motor is on,
thus preventing accidental operation of
the camera unknown to the operator.

A newly designed Auricon finder
provides the Cine-Voice user with a
large image, parallax corrected down
to four feet. Outside area of the image
is for the 15mm. wide angle lens, with
professional-type, transparent plastic
mattes provided for insertion in the
finder to indicate other lens areas. The
matte for the 1 inch lens is standard
equipment with the camera, while
mattes to match other lenses are avail-
able.

The camera is finished in an attrac-
tive gun-metal gray baked enamel fin-
ish, and a steel-reinforced leather han-
dle is provided at the top for con-
venient carrying. The case furnished
with the Cine-Voice outfit will carry
both the camera and amplifier with
batteries, together with the microphone,
headphones, microphone cable and
mike desk stand. The carrying case is
made of plywood and covered with
leather-grained maroon fabricoid.

7 Dfsc/ocKEy

UXJAL 'TURNTABLE

Fills a

W'/c/espread

Need

For continuous running,

fading from one record

to another.

With
Audio
Slide

Records can be packed|
between turntabl
bottom of cas

Dual Speed . . 33V& and 78 R.P.M. Plays 10" and 12" Records

Its Many Uses Include:

• Straight record entertainment play through any
amplifier.

• Playing specially recorded commentary and/or
sound effects records to run with silent movies or
slides.

• Background music with voice over microphone.
The Discjockey is housed neatly and conveniently in «
leatherette covered case measuring 15V2"x73/4"xllV2"«
Total weight 16 pounds. Unit has individual switch con-
trols and mixing volume controls.

PRICE

Write tor details. See your

Photographic dealer tor demonstration

THE RALPH R. END CORP.

626 W. 165 ST. • NEW YORK
Send your film (or free criticism or estimate

BIGELOW
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COMPENSATED IN PROCESSING
TO CORRECT EXPOSURE ERRORS

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OF THE YEAR

1950 PASADENA TOURNAMENT OF

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Laboratory

2125 Thirty-second Ave., San Francisco, Cal.
Since 1938

Safeguard your

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CASES.

400' to 2000' 16mm.

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100 ft. 16 mm. . 1.50

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Maxim winner at Hartford In line with long

standing tradition, the
first public screening of the year's Maxim Memorial
Award winner was put on by the ACL last month before
members and guests of the Hartford (Conn.) Cinema
Club, a group which was founded in 1927 by the late
Hiram Percy Maxim, FACL, Founder President of the
Amateur Cinema League. Present as a member of this
veteran club was Percy Maxim Lee, FACL, daughter of
the Founder and donor of the Maxim Award.

The featured film was, of course, One Summer Day,
by Glen H. Turner, ACL, of Springville, Utah, the second
8mm. picture to take this top trophy in its thirteen year
span. Other place winners seen on the gala program were
The Witch Cat, by William A. Thomas, ACL; Menemsha,
by Jose M. Pavon; Escape, by Warren Doremus, ACL,
and One Dinar More, by J. N. Unwalla.

Edmund Zacher, ACL, newly elected president of the
Hartford group, presided at the gathering, with Warren
A. Levett, ACL, assisting on the sound scoring. James
W. Moore, ACL, managing director, and Don Charbon-
neau, ACL, general consultant, acted for the League in
this annual presentation.

Walla Walla publication As a summary of club

activities for the year
ending last month and a valuable reference guide for
future officers, the Walla Walla (Wash.) Cinema &
Camera Club, ACL, has issued its first yearbook. A sec-
tion is devoted to neighboring clubs and another to rules
for the annual competition held each spring. A complete
listing of club officers and various committees, along
with a souvenir program, completes the book, which
reflects the cooperative spirit of this club that combines
harmoniously slide, still and movie making enthusiasts.

MMPC winners Jones Beach, by George Mesaros,
FACL, took top honors in the an-
nual general contest sponsored by the Metropolitan Mo-
tion Picture Club, ACL, of New York City. The seventy
five dollar cash prize was donated by the club. The Mary

IN MILAN, members of Cine Club ICAL (Italian Cinema Amateur League)
gather in Restaurant Campari for slide and motion picture screenings.

The people, plans and programs of

amateur movie groups everywhere

Jessop Award, fifty dollars in cash, went to second place
winner, Leo J. Heffernan, FACL, for Tumbling Waters.
Third prize of twenty five dollars in cash (also donated
by the club) was awarded Mannie Lovitch, ACL, for
Winter Escape. All of the ten entries in the contest were
on 16mm.

The board of judges included Joseph F. Hollywood,
FACL, Raymond Moss, ACL, C. Murray Booth, ACL,
Lou Skinner, Sidney Moritz, ACL, John R. Hefele, ACL,
and Ralph R. Eno, ACL.

Brooklyn gala 8 show The Brooklyn Amateur Cine

Club, ACL, is completing
plans for its second annual 8mm. gala, to be held at the
Neighborhood Clubhouse, 104 Clark Street, in downtown
Brooklyn, on January 20. Tickets will be $.75 each and
may be ordered from Arthur Rosenthal, 884 Franklin
Avenue, Brooklyn. He may be phoned at STerling 3-8869.
The show will consist of prize winning films from the
club and national contests. Already booked are The
Wolfs Tale, by George A. Valentine, ACL, honorable
mention winner in Movie Makers 1948 contest, and
A Fin for a Fin, by Robert T. Batey, ACL, a 1948 prize
winner in the annual contest of the Metropolitan Motion
Picture Club, ACL, of New York City.

New Maine group Movie enthusiasts of Lewiston
and Auburn (Maine) prevailed
upon the already existing Androscoggin Camera Club to
form a cine division, which was subsequently done.
Under the leadership of Robert Demers, of Lewiston, the
new film group held its first meeting before the holidays,
at which Squeaky's Kittens, by Walter Bergmann, FACL,
and a Celluloid College instructional film were screened.
A regular election of officers will be held soon. In the
meantime, Adelaide Anderson is acting executive secre-
tary, and William H. Ashcroft, ACL, is assisting with
organization details.

Minneapolis sessions Pre-holiday meetings of the

Minneapolis Cine Club, ACL,
featured screenings and a lecture demonstration. The
latter was devoted to production planning and analysis
and was conducted by Peyton Stallings. Among the films
shown were Pueblo Land and Navajo Country, by Elmer
W. Albinson, ACL; Christmas, by Dr. L. J. Martin, ACL;
West Indies, from the Royal Dutch Air Lines, and a
film on Cuba by Dr. John J. Boehrer. The club's Christ-
mas dinner party was the feature of the December meet-
ing, which also included a film program.

Ottawa demonstrates A recent session of the Ot-
tawa Cine Club, of Canada,
was devoted to the problem of lighting for interior film-
ing. The General Electric sound production, Family Al-
bum, was screened to illustrate proper lighting setups.

MOVIE MAKERS

Lloyd Oppenheimer

BENNINGTON (VT.) MOVIE MAKERS check projector. Seen (I. to r. front) are Mrs. H. W. Myers,
ACL, sec't, Ralph Smith, ACL, pres., Lewis Carpenter, ACL, treas., Herbert Post, ACL, v. pres.

Club in Italy Cine Club ICAL—

Milan, organized
last year, announces its roster of of-
ficers for the current season. Achille de
Francesco, ACL, is president, with
Nino Zucca, ACL, as vicepresident and
Pino de Francesco as secretary.

On the advisory board are Dr. Ulrico
Hoepli, Dr. Celestino Frigerio. Dr. Ce-
sare Maffioretti, C. Marino Bevilacqua,
Dr. Gianni Fustinoni. Dr. Renato Bes-
tetti. Dr. Lorenzo Ravaiolo, Alessandro
Pasquali. Renato Spezzo Franciosi,
Gaspare Pasini. Gino Cicu. Savio Alles-
sandro and Angelo Moiraghi.

Vailsburg elects Recent ballot

ing by the
Vailsburg Cine Club, ACL, of Newark,
N. J., returned the following officers
for the current season: Ted Kerekes,
president; Tom Gray, ACL, vicepresi-
dent; Harry W. Gardner, treasurer,
and Walter Strombach. ACL, secretary.
Plans for the club's annual open house
in December, light hearted in nature,
included the screening of Doghouse
Blues, by E. H. Sparks, ACL, and The
Unexpected, 1948 Maxim Award win-
ner by Ernest H. Kremer, ACL.

Metro Schedule A busy and di-
versified fall sea-
son was offered members of the Metro
Movie Club of River Park, in Chicago.
The opening program featured the
screening of The Unexpected, 1948
Maxim Award winner by Ernest H.
Kremer, ACL, and Mainliner Holiday
on Wings, produced by United Air
Lines. This was followed by a round-
table discussion of members' problems
and demonstrations of individual Aim-
ers' gadgets.

Subsequent programs featured a
demonstration of magnetic sound on
8mm. and 16mm. film by J. S. Kemp,
of the Armour Research Foundation:
presentation of Part I of Paradise of
the Pacific, by Arthur H. Elliott, ACL.
and Down on the Farm and Watching

Richard Grow, bv Edwin J. Dahlquist.
ACL.

The Kenosha Movie and Slide Club
presented a program the last of Oc-
tober as guests of Metro. Among the
offerings were Trilogy, by Timothy M.
Lawler. jr., ACL; A Girl, A Camera
and Canada, an 8mm. film by Eldon
Voelz, and an 8mm. club production.
Poor Elmer.

Oklahoma slate R C Hardcastle
was chosen pres-
ident of the Movie Makers Club, ACL,
of Oklahoma City (Okla.), with John
Varnell as vicepresident. Mrs. Hugh
Turney is secretary-treasurer, and H.

A. Houston, ACL. C. N. Conley and
Lee White are directors.

The October meeting featured the
screening of Infantile Paralysis, by
club member E. R. Dunn, and the Har-
mon Foundation film. Lenses and Their
Uses.

Los Angeles 8's elect The Lo3

A ngeles
8mm. Club held its annual election
before the holidays to choose officers
for the coming year. A. W. Apel was
named president and Dean Stocks vice-
president. Edna M. Knowlton is the
new secretary, and William Krause is
treasurer.

Richmond salon The first aa-

nual salon
sponsored by the Richmond (Calif.)
Movie Camera Club featured a gala
showing of fourteen films, most of them
by filmers in the Bay area of San Fran-
cisco. Space does not permit a complete
listing, but among clubs or individual
filmers represented were Bay Empire
8mm. Movie Club. San Jose Movie
Club, Minneapolis Cine Club. ACL,
Denver Sutton, of the Westwood Movie
Club, C. H. Fox and Leonard Tregillus,
ACL, of the Berkeley Movie Club,
W. S. Movie, of Movie Crafters, and
Ida Goetjen. of Ross Valley Camera
Club. Joseph S. Pancoast, ACL, was
program chairman, assisted by Made-
line Whittlesey and Bob Buckett, club
president. Percy Rihn was master of
ceremonies.

ACL members urged
for Leag

THE twenty fourth annual meeting
of members of the Amateur Cinema
League. Inc., will be held at the
League's headquarters on Wednesday,
May 10, 1950.

The chief item of business to be
transacted at that time will be the elec-
tion, by vote of the membership, of
three ACL members to the League's
Board of Directors, to fill terms expir-
ing at that time. Any member of the
League may become a candidate for
such election if he is nominated in
writing by ten (10) or more accredited
members of the ACL.

So that each member of the League
may have the fullest opportunity to ex-
press his personal preferences concern-
ing those nominated, ACL members ev-
erywhere are urged at this time to send
in their nominations of directorial can-
didates.

No formality is necessary. Simply
write to the Amateur Cinema League.
420 Lexington Avenue. New York 17.
N. Y., and state:

"I nominate (League member's name)

to name candidates
ue Board of Directors

as a candidate for election to the Board
of Directors of the ACL at the coming
annual meeting of the Amateur Cine-
ma League, Inc.. on May 10, 1950.
Signed: (your name)."

The period for making nominations
will close on May 1. 1950. Only those
names of members which have been
nominated by ten (10) or more fellow
members by that date can be placed on
the official ballot. Your opportunity to
vote on that ballot will be provided
as usual with a mailing of proxy no-
tices.

The ACL directors whose terms ex-
pire in May, 1950. are the following:
Ralph E. Gray. FACL; Roy C. Wilcox,
ACL, and Harold E. B. Speight. ACL.
If any one of them is to be re-elected
to the Board of Directors, he must be
duly nominated as outlined above. You
are free to make such nominations if
you so wish. You are equally free to
make any other nominations that you
desire. It's your League. Let's hear
from you. — James W. Moore. ACL,
Managing Director.

JANUARY 1950

8MM. ON THE MARCH

ON PAGE 28 of this issue of Movie Makers
there will be found the facts and figures re-
lating to our selection of the Ten Best Ama-
teur Films of 1949. Forced out of December Movie
Makers by the unprecedented number of films hon-
ored in 1949, these data should reveal much about
amateur filming in general, Ten Best competition
filming in particular.

For many movie makers, surely, the most exciting
revelation of this roundup will be the stirring progress
made by 8mm. amateurs. With their entries compris-
ing 23 percent of the films seen in the contest, 8mm.

workers took 20 percent of all the honors, with 14
percent of the Honorable Mention awards, 30 per-
cent of the Ten Best awards and — to cap the climax
— the Maxim Memorial Award for the best of the
Ten Best Amateur Films in 1949!

The staff of the Amateur Cinema League yields
to no one in its jubilation at these results. No more
stirring testimony could be given of that simple (but
often forgotten) truth that men and their imagina-
tion, not machines and money, create great movies.
Older and perhaps complacent 16mm. workers had
best look to their laurels. 8mm. is on the march!

THE AMATEUR CINEMA LEAGUE, Inc.

Founded in 1926 by Hiram Percy Maxim

DIRECTORS

John V. Hansen, President
Ethelbert Warfield, Treasurer

C. R. Dooley
Ralph E. Gray
H. Earl Hoover

Joseph J. Harley, Vice President
James W. Moore, Managing Director

Harold E. B. Speight
Stephen F. Voorhees
Roy C. Wilcox

The Amateur Cinema League, Inc., sole owner and publisher of
MOVIE MAKERS, is an international organization of filmers. The
League offers its members help in planning and making movies. It
aids movie clubs and maintains for them a film exchange. It has
various special services and publications for members. Your member-
ship is invited. Six dollars a year.

AMATEUR CINEMA LEAGUE, Inc.. 420 LEXINGTON AVE.. NEW YORK 1 7. N. Y., U. S. A.

Keeping

sound in sync

[Continued from page 15]

and even lip-recorded speech in per-
fect synchrony, automatically and ev-
ery time.

This synchronizing unit is composed
of two halves connected by a flexible
cable. Using screw holes already ex-
isting in most projectors, one half is
mounted on the projector by a special
bracket and integrated with the shaft
of the hand threading knob. The re-
corder half, in turn, is built into that
unit and gear-connected to the record-
ing mechanism. The flexible cable
quickly and easily joins these two
control points and meters the projec-
tor's speed through to the recorder.
For, while each machine runs on its
own motor, a slip drive in the recorder
permits it to run only as the projector
leads it.

PROJECTOR GOVERNS RECORDER

Thus, we find that it is the operat-
ing speed of the projector which will
determine the revolutions of the re-
corder takeup — and therefore the natu-
ralness of its sound reproduction. In
operation, a projector speed of 18%
frames per second has proved to be
best for the sound and, heretofore, de-
termination of this speed has been ar-
rived at audibly.

A more exact control, however, is
now an additional refinement in Movie-
vox operation. This is a stroboscopic
disc design mounted on the lower lip
of the recorder's takeup spool. When

scanned by a built-in neon glow lamp,
this disc will now signal when the pro-
jector (and therefore the recorder) is
operating at the desired speed.

Recording operations with the Movie-
vox are basically similar to those sug-
gested in earlier magnetic wire discus-
sions in this magazine. Cue marks on
the wire and on the film get both off
in step; the rest is simply a matter of
accurately rehearsed recording. Such
operations on the Movievox, however,
are simplified beyond those of other
arrangements because of the funda-
mental fact that control of the pro-
jector also includes control of the re-
corder. Start your projector, and the
recorder starts. Stop the projector, and
the recorder stops as well. Thus, cor-
rections, additions or eliminations to
the recording can be made at any point
without impairing the synchrony.

Movievox units are available today
in a variety of combinations. There is
first the basic recorder, complete with
microphone, speaker and a twenty
minute spool of recording wire. Avail-
able separately, for use with this re-
corder or any standard Webster unit,
is the Movievox synchronizer, with at-
tachments designed for your projector.
Instructions for the installation of this
device accompany the synchronizer, or
you may have it installed at the factory
on order. Further, and finally, users of
any other wire or tape magnetic sys-
tem or of single or double disc sound,
will be interested to know that Movie-
vox can now synchronize their sound
system with their projector as accu-
rately as with our own equipment.

Build

ur own

boom

[Continued from page 19]

hook or cleat is attached to the up-
right on which the string can be fas-
tened.

For the swivel block at the upper
end of the boom proper, I took a block
of wood 2 by 2 by 4 inches in size and
cut it with a tongue V2 inch wide and
1% inches long. I then cut a horizontal
slot % inch wide and 2yi inches deep
in the upper end of the boom. The
block tongue fits into this slot and is
held by a Vi inch bolt and wing nut
passed through a hole drilled through
both units.

On the other end of the swivel block
there is fitted a Vi inch bolt extending
out from the end. Onto this bolt I at-
tached a wooden arm 72 by 2 inches in
size and 5 feet long. A Vi inch hole
drilled in its center permits it to be
slipped over the bolt extending from
the swivel, which is then secured with
a wing nut. At the ends of the wooden
arm there are attached and wired suit-
able sockets for built-in reflector floods
or spot lamps, as desired.

The overall extension of this lighting
boom arrangement is from about 3 to
8 feet above the floor. As suggested
earlier, it provides for 360 degrees of
rotation by the upright unit in the pipe
mount, while the cross arm may be ro-
tated 190 degrees horizontally and 360
degrees vertically. I have found the
gadget invaluable in almost all types of
home lighting setups. It is easily de-
mountable for storage.

ITS IN STOCK AGAIN

• • • •

THE ACL FULL COLOR LEADER!

To all ACL Members:

So many of you have ordered (and re-ordered) copies
of the new ACL leader that we've had a hard time keeping
up with the demand. For this reason we haven't done
much talking about the leader during the last month or so.

Now, however, we're all caught up with orders — and
we re ready to tell you a few things about the leader :

The frame enlargements above give you an idea — but
only a very rough one — of some of the highlights of tbe
new ACL leader. What these frames cannot show you is
the vibrant color, the exciting sense of motion, as tbe full
leader develops. Here's what you'll see on your own home
screen . . .

Against a dark background, the earth — with the con-
tinents varicolored against the rich blue seas — revolves
slowly until the sparkling, crystal letters ACL fade in
across the spheres curvature.

Then a narrow band of brilliant red, bearing in white,
raised letters the word MEMBER, swings across the globe.
A second band of red, with AMATEUR CINEMA in white,
zooms in from the right and is followed by a third red
band, with the word LEAGUE.

A smooth lap dissolve follows, and across the same three

red panels appear the words WORLD WIDE ASSOCIA-
TION OF MOVIE MAKERS, in gleaming white letters.
These, together with the sphere, then slowly fade out.

There's still more: the trailer. As your film ends, you
fade in once more on the slowly spinning earth — and a
brilliant red band sweeps diagonallv across it, announcing
in large white letters THE END.

But we can't tell you about it. You've got to see the
leader to appreciate it, to get the feeling of real glamour
that it will add to your most distinguished films. Shoot
us your order today — and own a real movie making
emblem of ACL membership!

Cordiallv.

QLmj*n-|»

w^-au^l^

JAMES W. MOORE
Managing Director

P.S. 16mm. leaders are 14 ft.: 8mm.. 7 ft. — same running
time.

ACL leaders are sold at the amazingly low price of $1.50
for 16mm. and $1.00 for 8mm. widths. Just fill out the
coupon below, indicating the number of leaders you wish,
and mail it to the League together with your check or
money order.

1-50

AMATEUR CINEMA LEAGUE, Inc.

420 Lexington Avenue

New York 17, N. Y.

Yes, as a member of ACL, I certainly want several of the beautiful

new Kodachrome leaders. I enclose my check or money order for:

16mm. Kodachrome leaders at $1.50 each

Rmm Knriachrnmp leaders at $1.00 each

Street

City Zone State

IF YOU ARE NOT A MEMBER OF ACL

The ACL (or Amateur Cinema League) is a non-profit
organization which has provided advice and help in all
branches of 8mm. and 16mm. filming since 1926. The
ACL is also publisher of the well known ACL MOVIE
BOOK and MOVIE MAKERS magazine.

Membership in the ACL (at only $6.00 a year) puts at
your disposal, to use as often as you wish, the following
services :

Technical consulting service

Continuity and film planning service

Club service

Film review service

Or. speaking more generally, membership in the ACL
entitles you to ask any thing, at any time about 8mm. or
16mm. filming.

AND, in addition to these services, all members of the
ACL receive the ACL MOVIE BOOK and MOVIE MAKERS
monthly, as part of their membership.

To start your membership in the ACL, just send your
check or money order for $6.00 to the Amateur Cinema
League, Inc., 420 Lexington Avenue. New York 17. N. Y.
If you want to start your membership with the ACL's
official leaders for your films, we can accept your order
for them at the same time.

100,000 MOVIE MAKERS HELPED WRITE
THIS GUIDE TO MAKING BETTER MOVIES

FOR Alt 8MJW AMD 16MM FiiMERS

■ » ■» a

THE ACL MOVIE BOOK

AMATEUR CINEMA HAGUE, INC.

TWO WAYS TO GET THIS BOOK

Order from your favorite book store, photo-
graphic dealer, or direct from the publishers.

If you join The Amateur Cinema League,
the book is yours FREE, plus all the
League Services, pfus MOVIE MAKERS Maga-
zine for one year, for only $6.00. Use EITHER
coupon below! DO IT NOW!

AMATEUR CINEMA LEAGUE,

420 Lexington Avenue
New York 17. N. Y.

1-50

Inc.

Please send me copies of The ACL MOVIE

BOOK. I enclose remittance for $3.00 each, made
payable to Amateur Cinema League, Inc.

Name

Street-
City

Zone-

_ State.

1-50

AMATEUR CINEMA LEAGUE, Inc.
420 Lexington Avenue
New York 17. N. Y.

I wish to become a member of the ACL, receiving
the ACL MOVIE BOOK, Movie Makers monthly, and
all the League services for one year. I enclose re-
mittance for $6 (of which $2 is for a year's sub-
scription to Movie Makers) made payable to Amateur
Cinema League, Inc.

Name .

Street
City

The ACL MOVIE BOOK

Out of the rich experience of helpful advice to
movie makers all over the world for over twenty-three
years, the Amateur Cinema League has written this 311
page book— with over 100 illustrations and diagrams-
crammed full of information on every phase of movie mak-
ing. ALL the up-to-date theory and practice of the amateur
movie world, in simple, easy to read language, are yours
within its handy, flexible-stock covers. You'll save its price
many times over in better exposed, better produced
movies you'll be proud of. $3.00

-Zone State.

READ THE COMPLETE TABLE OF CONTENTS

WHAT IS A MOVIE?— A fundamental discussion of films and filming.

WHAT MAKES A MOVIE?— The basic principles of the motion picture;
scene, sequence and camera viewpoint.

A MOVIE'S CHIEF TOOLS— Essentials of your camera, film and projector.

BASIC CAMERA TECHNIQUE The practical problems of exposure, focus,
scene length and camera handling.

FILM PLANS AND SCRIPTS-How to develop any film theme in easy and
entertaining continuity.

AROUND THE YARD MOVIES-Family films come first from the camera
of every home movie maker.

WE NEED MORE MOVIE TOOLS-How to use accessory lenses, filters,
tripod, exposure meter and the advanced camera.

THE CAMERA STEPS OUT— Pictures of picnics, holidays, games and out-
door sports.

THE CAMERA SEES THE WORLD-Planning and producing the travel film,
by auto, train, plane or ship.

FILMING PUBLIC EVENTS-What makes a movie of a parade or pageant,
a football game or a county fair.

MAKING READY TO PROJECT-The tools and techniques of editing, splicing,
title writing and title making.

PROJECTION— Placing the projector, screen and audience; use of narrative
and music.

FILMING INDOORS— The equipment, principles and practice of interior
lighting and exposure.

THE CAMERA DECEIVES— Simple and advanced camera tricks; reverse
motion, stop camera, movies in a mirror, animation, miniatures, double
exposures and time lapse.

THINGS FAR AND NEAR— Using the telephoto lens, and other methods of
closeup movie making.

BETTER METHODS OF EXPRESSION-Creating and using basic film effects;
the fade, lap dissolve, wipe off, moving camera, montage editing and
composition.

MOVIES IN COLOR— Complete characteristics of Kodachrome and Ansco
Color; exposing color film indoors and out; filters for color; subject matter
and lighting contrasts.

SOUND WITH FILMS— Use of narrative, music and sound effects, on disc
or sound tracks.

SPECIAL PURPOSE FILMS— Personal films in business, teaching, science and
the church; the film story and the documentary.

PROFITS FROM YOUR MOVIES— How competent amateur filmers help
pay the freight.

THE MOVIE SHOPPER— Eight or Sixteen? Buying used equipment; acces-
sories and services.

FEB -6 1950

©ci

B 2 3093 8

^ LIBRARY Qj

CONGRESS

AERIAL RECORD

r^ 1 3 1950

TELEPHOTO!

m m. &

nm. FN

.MEWS

• THREE-POINT LIGHTING • A TRII

IANGLI

• * * * GIVE THE CAMERA PREFERRED BY AMERICA'S FOREMOST CAMERAMEN

Don Sykes

Top Cameraman for Television's
Outstanding Feature Series" Roving Cameras"

uses the Bolex H-16

NEW! BOLEX EYE-LEVEL FOCUS!

All new Bolex H-16 and H-8 cameras
now include this fine precision instru-
ment that gives you critical visual focus
through the lens, from behind the cam-
era . . . and at no increase in price!

Here's why DON SYKES

prefers the BOLEX H-16

Automatic Threading: No need to use ex-
pensive magazine-loaded films. Bolex auto-
matic threading eliminates all danger of
imperfect tli reading.

Turret Head for Three Lenses: Accommo-
dates standard "A" or "C" type mounts.
Tri-focal Tubular Viewfinder: With exact
fields for 15mm, l"and 3" lenses as standard
equipment, viewfinder provides for absolute
correction of parallax down to 18 inches.
Invaluable for title and closeup work.
Critical Visual Focusing: Groundglass fo-
cusing for instant and accurate focus
through the lens; magnifies image 10 diam-
eters.

Focal Plane Type Shutter: Rotating disc,
180° opening, revolves only H8/1000 of an
inch from emulsion side of film preventing
linear distortion and giving faultless regis-
tration on the film. This is a Bolex exclusive.

Frame Counter: Accurate frame counters
add or subtract automatically.

Footage Counter: Adds and subtracts accu-
rately in forward and reverse.

Audible Footage Indicator: You hear a
click with passage of each 10 inches of film.

Variable Speeds: Speed range is 8, 1G, 24,
32, 64 and all intermediate. The governor
maintains constant speed with the closest
tolerance.

Single Frame Exposures: Takes stills or
animated sequences at 1/20 to 1/25 second
exposures, or with "time" exposure.

Pressure Plate: Maintains firm, precise pres-
sure on film, insuring rock-steady pictures.
Single Claw Operation: Designed to permit
adaptation for use with sound film.

The Baler is a precision instrument built like
the finest Swiss watch by Swiss craftsmen.

Scenes From Actual "Roving Cameras" Story Shot With Bolex H-16. Breath-
taking beauty— breath-taking photographs— these enlarged frames taken by
Don Sykes. Such fine enlargements are possible— ercn on paper— because the
pictures were taken with a Bolex H-16. In combination with its Kern-Paillard*
Lenses, the exclusive shutter mechanism of the Bolex H-16 assures faultless
registration of the image on the film— in color or black-and-white.

The BOLEX H-16 Less '.ZS™-50

A BEAUTY WINNER ill its OWI1 Kern-Paillard Lenses for the Bolex H-16
Switar 1" f/1.4 $183.75 F rf
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Yvar 15mm f/2.8 $ 78.75 \™

itating choice of advanced amateur Yvar3"f/2.5 $128.34

and professional movie makers. Dis- *"""-pA,L,L,\RD "NSES are TTnl^lfr

" out the world for their consistent high quality.

criminating cameramen revel in its Available in Switar 1" f/1.4, Pizar 1" ' t/1.5,

b m •IPs. Yvar 15mm f/2-8 and Yvar 3 f/2-5-

ease of operation, its gadgetless com- //ty\W\ Note: The Switar 1" f/1.4 is as fine

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pactness. The skill of Swiss crafts- \__JL_jy i6mm field.

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strument— dependable under all con- \\J^/tf^^^ PICTURE

ditions and in every climate. I M a paiuard ....._..

y 1/ product CAMERAS

WRITE TODAY for descriptive folder UM-250 on camera and lenses to:
PAILLARD PRODUCTS, INC., 265 MADISON AVENUE, NEW YORK 16, N. Y.

Bolex Cameras are sold and serviced through leading camera dealers everywhere.

MOVIE MAKERS

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Send CASTLE FILMS' NEW, EXCITING 1950 HOME MOVIE
CATALOGUE, profusely illustrated, describing wide variety
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Baby's tears, or his laughter, they're
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Photofloods. They give you more
usable light for less current . . .
only 37 5 watts. Planned for use in
pairs, they're ideal for color. Get
some and try 'em!

TOPS FOR SUCH UNITS

You can put 4
lamps on one
circuit! And
it's so easy to
follow action.

Now you can get a complete package

— lamps and bracket, in a handy
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1Re**te*H&e* . . . £-£ ^<u*t/k6
fan, every frfotoyxerfUUc frctnfiete

GENERAL
ELECTRIC

THE MAGAZINE FOR
8mm & 16mm FILMERS
Published Every Month by
AMATEUR CINEMA LEAGUE

The reader writes

Closeups

Hunt for human interest!

Using telephoto lenses

Projection pointers

Build a tripod triangle!

Fading control for the Cine-Special

Three-point lighting

Movies in color: 3

The clinic

Hints from Hollywood

Planning makes programs

News of the industry

Late releases

Clubs

Miami amateurs defeat union bi

It can happen here

February
1950

What filmers are doing 49

Leroy Segall, ACL 51

James W. Moore, ACL 52

Maury Kains, ACL 54

Lewis C. Cook 55

Al Morton, FACL 56

Charles H. Coles, ACL 58

Aids for your filming 63

John C. Sherard 65

Reports on products 66

New 8mm. and 16mm. films 70

People, plans and programs 74

77
Editorial 78

Cover photograph: Harold M. Lambert from Frederic Lewis

DON CHARBONNEAU
Consultant Editor

JAMES W. MOORE
Editor

JAMES YOUNG
Advertising Manager

ANNE YOUNG
Production Editor

Vol. 25, No. 2. Published monthly in New York, N. Y., by Amateur Cinema
League, Inc. Subscription rates: #3.00 a year, postpaid, in the United States and
Possessions and in Argentina, Bolivia, Brazil, Chile, Colombia, Costa Rica,
Cuba, Dominican Republic, Ecuador, El Salvador, Guatemala, Haiti, Honduras,
Mexico, Nicaragua, Panama, Paraguay, Peru, Spain and Colonies, Uruguay and
Venezuela; $3.50 a year, postpaid, in Canada, Labrador and Newfoundland;
other countries $4.00 a year, postpaid; to members of Amateur Cinema League,
Inc. $2.00 a year, postpaid; single copies 25< (in U. S. A.). On sale at photo-
graphic dealers everywhere. Entered as second class matter, August 3, 1927,
at the Post Office at New York, N. Y., under act of March 3, 1879. Copyright,
1950, by Amateur Cinema League. Inc. Editorial and Publication Office: 420
Lexington Avenue, New York 17, N. Y.. U.S.A. Telephone LExington 2-0270.
West Coast Representative: Edmund J. Kerr, 6605 Hollywood Boulevard, Los
Angeles 28, Calif. Telephone HEmpstead 3171. Advertising rates on application.
Forms close on 10th of preceding month.

CHANGE OF ADDRESS: a change of address must reach us at least bv the
twelfth of the month preceding the publication of the number of MOVIE
MAKERS with which it is to take effect.

MOVIE MAKERS

wmfy/

...AND MOVIES MEAN REVERE

Outdoors in winter! What wonderful
movie-making opportunities it offers. There's a
world of action-filled fun waiting to be filmed
against an ideal backdrop of glistening snow,
white crested trees and clear blue skies.
When you think of taking movies you naturally
think of Revere, for Revere is America's
favorite home-movie camera. Its faithful
performance . . . easy-to-operate mechanism . . .
many helpful features . . . and very reasonable
price make Revere the preferred cine equipment.
Camera prices start as low as $62.50,
including tax. See your Revere dealer today!
Revere Camera Company • Chicago 16

REVERE "26" 16mm
MAGAZINE TURRET CAMERA

Gives you the speed and ease of
magazine loading plus advantages
of a 3-lens rotating turret head
and adjustable viewfinder. Other
features are: ratchet-winding key
. . . continuous run . . . five speeds
. . . and single frame exposure.

F2.7 Coated lens $152.50

F1.9 (Focusing Mount) .

Coated Lens $179.50

Prices Include Tax

Listen To Revere's "A Date With Judy".
Every Thursday Night on ABC Network,
8:30 to 9:00 in Eastern Time Zones, 7:30 to 8:00
in Central, Mountain and Pacific Time Zones.

"48" 16MM SILENT PROJECTOR
The Ultimate in Silent Projection

Every feature considered necessary for 16mm
projection at its easiest and best has been in-
corporated into this improved projector. Oper-
ating on both AC and DC, its new features
include handy film compartment in base, sim-
ple 3-point threading, single knob control and
other advanced operating advantages.
Complete with slip-over carrying case, 2-in. F1.6 coated
lens, 750-watt lamp, and 400-foot reel $137.50

EIGHTS oh^ SIXTEEN S

IN PURSUIT OF HAPPINESS REVERE ADDS TO YOUR PLEASURE

FEBRUARY 1950

SHOOT IT IN SOUND!

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descriptive Folder telling how to shoot
Home Movies with Hollywood style
sound-tracks, for exactly the same film
cost as silent movies! You can show
your own "Cine-Voice" talking pictures
on any make of 16 mm sound-on-
film projector.

Record SOUND -TRACK & Picture.. .
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Including "Cine -Voice*" Sound Camera
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same as most popular 16 mm Cameras.

RCA LICENSED D**^^^ GUARANTEED ONE YEAR

BERNDT-BACH,Inc.

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MANUFACTURERS OF SOUND-ON-FILM
RECORDING EQUIPMENT SINCE 1931

This department has been added to Movie Makers
because you, the reader, want it. We welcome it
to our columns. This is yoar place to sound off.
Send us your comments, complaints or compli-
ments. Address: The Reader Writes, Movie
Makers, 420 Lexington Ave., New York 17, N. Y.

TO HECK WITH THE LEAGUE

Dear Sirs: If I get nothing more for
my $3.00 extra in this coming year
than I did in the past year, I am going
to subscribe to the magazine only, and
to heck with the League.

A. Wayne Brooke, ACL
Leonia, N. J.

ROOM FOR IMPROVEMENT

Dear Mr. Moore: While The Reader
Writes section is filled monthly with
compliments for Movie Makers, I can't
agree that it is such a wonderful
magazine. There is plenty of room for
improvement, and you'll hear from me
later as to specific changes I would
like to see.

The reason that I care at all is that
I am a firm believer in unity and or-
ganization. As a member of the Ameri-
can Radio Relay League for many
years, I know the value of banding to-
gether for the common good. While I
have never, to the best of my knowl-
edge, used any services offered by the
League, I still wish to be numbered as
a member (note enclosed check) and
contribute to its welfare.

Joseph A. Wagner, ACL
Verona, Pa.

In view of recent efforts threatening to
encroach upon our activities (see pages
77 and 78), perhaps member Wagner has
a sounder solution than that of member
Brooke. For, one of the most important
(and yet little known) services the ACL
performs is to protect the freedom of
amateur filming — wherever and whenever
it is threatened. This freedom, we sin-
cerely believe, can be maintained only by
amateurs "banding together for the com-
mon good."

In the meantime, we warmly urge
member Brooke to get his money's worth
of the other ACL aids. And we invite
member Wagner (and all others) to tell
us what they want in Movie Makers.
With each new issue, we too feel invari-
ably that there's loads of room for im-
provement.

AID IN ENGLAND?

Gentlemen: Since the ACL has mem-
bers all over the world, it may be
possible for you to help me. Here is
my problem.

Some time ago a friend of mine sent
several 8mm. films to England for the
pleasure of an aged relative of his.
Upon her inquiry at a photo shop in
the town where she lives, this lady was

told that they would screen the film
for her at a fee far beyond the poor
soul's ability to pay. She is still at a
loss to see these pictures.

Perhaps one of our 8mm. members
in England might extend to this lady
the pleasure of seeing these pictures
of her family. Her address is Miss
Lila E. Kenniff, c/o Miss Gurden, 83
Queen Anne Avenue, Bromley, Kent.

Herbert E. Nelson, ACL
Kelso, Wash.

How about it, English 8's?

QUILTING PARTY

Dear Mr. Charbonneau: Many thanks
for your interesting and helpful letter
regarding a movie I want to make fea-
turing patchwork quilts. You sure in-
spired me, and when I finish the film
I'll be glad to send it in for League
review.

Sarah C. Sheldon, ACL
Philadelphia, Pa.

AND HOW1

Dear Mr. Moore: I got quite a snicker
recently from your formula in Ques-
tions and Answers on how to make
black camera leader — namely, running
it through the camera and then devel-
oping it.

Ain't that the hard way? I have al-
ways found that if it is developed in
daylight, it comes out black — and how!
Arthur H. Hart
San Francisco, Calif.

And how you're right!

MONKEY BUSINESS

Dear Mr. Moore: We are here for
most of the winter, right on the Keys.
Ruth and I spent two days shooting
pictures recently at the Monkey Jungle,
at Goulds, Fla., and I thought you
might be interested in the enclosed
snapshot.

Fred C. Ells, FACL
Islamorado, Fla.

FRED C. ELLS, FACL, Ruth Ells, and Tommy, an
8 month old "chimp," visiting at Goulds, Fla.

MOVIE MAKERS

ON THE BUTTON

Dear Sirs: Add one more plug for an
ACL membership button. I would like
to be able to spot a fellow League
member at the Sun forums and camera
shows that I attend.

H. P. Goldberg, ACL
Bronx, N.Y.C.

... I also like the suggestion of one
of your readers for an ACL decal,
suitable for mounting on my camera
case. I'd go for that.

Clyde Beattie, ACL
Lake Orion, Mich.

. . . Along with other members, I
think a button representing the League
would be grand. I would also like to
have a sticker to put on my camera
case. Is there such a thing?

Mrs. Helen Beckelman, ACL
Brooklyn, N. Y.

Not right now

but there will be.

PHONE NUMBER TOO

Gentlemen: As long as you plan to
follow Mr. Ashcroft's excellent sugges-
tion— to put your office address on the
new cards — please don't forget your
phone number too.

Oscar W. Darge, ACL

Can do! Any other suggestions?

WELL SATISFIED

Dear Mr. Charbonneau: Thank you
for your reply to my recent inquiry to
the Consulting Department. I am so
well satisfied with having become a
member of ACL that I feel more than
compensated already for the yearly
dues paid with my application.

It is comforting to know that there
is such an organization so ready and
able to assist the amateur movie maker
in making better movies.

Lester Unter, ACL
New York City

MUCH I HAVE ENJOYED

Dear ACL: Just a word to tell you
how much I have enjoyed reading
Movie Makers in 1949, as well as to
say "Thank You" for the many benefits
from the numerous fine articles you
ran.

Don Charbonneau also has given
freely of his assistance to those of our
group who have had occasion to write
him. .

Gene Millman, ACL
Past President
Amateur Movie Society of Milwaukee-
ACL
Milwaukee, Wise.

REPLIES MOST KIND

Dear Sirs: Thank you very much for
inserting a notice in the September
issue of your journal asking for copies
of Movie Makers which we needed.
The replies from your readers have

ow-

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85 PAGES

ILLUSTRATED

WESTWOOD SALES CO. 635 victoria avenue, san francisco 27. California.

FEBRUARY 1950

For the most
rewarding results
— 1 from

Pain ling
with Light

your
camera

Here is the ex-
pert know-how
on those key
techniques that
lift movies from
good to superb.

Painting with

Light by John Alton

Tells you how to achieve the
beauty and enchantment of the
best photography

THIS NEW BOOK SHOWS IN
DETAIL HOW TO LIGHT-

People:

how to light different types of faces;
lighting on clothes; photographic val-
ues of make-up; getting the right light
on people out of doors.

Special scenes:

firelight, candlelight; lighting to cre-
ate special mood; flickering light, rain,
lightning and other storms; light ef-
fects of background colors; glamoriz-
ing "props"; lighting equipment you
can make.

Interiors and exteriors:

lighting for proper perspective indoors
and out; highlights, shadow; interiors
in night light; the street at night;
shooting an interior from outside; light
from doors and windows; light for dif-
ferent times of day, different seasons;
the right light on snow, ice, water; mist.

Reviewers say: "The most imagina-
tive and instructive book I have
seen," "A must for professionals and
all serious amateurs."

The author is a top-rating Holly-
wood expert _a Director of Photog-
raphy whose pictures for MGM, Paramount,
Eagle Lion, etc. have been cited by the
critics as "some of the most exciting photog-
raphy in cinema annals."

295 illustrations of equipment and
how to place it.

^^ASEE IT ON APPROVAL

THE MACMILLAN CO.

60 Fifth Ave., New York 11

Please send me a copy of Painting
with Light on approval. I will either
remit $6.00 or return the book at
the end of ten days.

Signed

Addr

been numerous and most kind. We
have had offers from readers as widely
separated as Holland, Hawaii and
Johannesburg.

Thanks to you and to your readers
our set is now complete. Your kindness
in helping us is greatly appreciated.

Miss P. M. Speight
Asst. City Librarian
Johannesburg, South Africa

GIVE BUGS A TREAT

Dear Sirs: Kindly send a subscription
to Movie Makers to my friend listed
below. He is a 16mm. user. I have en-
joyed the magazine immensely, and
have it on my waiting room table to
give the "bugs" a treat.

Dr. Joseph J. Macro, ACL
Cleveland. Ohio

SAME FOR SON-IN-LAW

Dear ACL: I have received so much
help and information from both the
Movie Makers monthly and The ACL
Movie Book that I want to help my
son-in-law get the same benefits.

Please enclose this birthday card in
his copy of the ACL book. I do not
know of any other gift that would give
him as much help and pleasure as this.
M. E. Blue, ACL
Dunkirk, Ohio

A swell idea, Mr. Blue! An 8mm.
ACL Kodachrome leader on the house
goes out to you today for enrolling a new
member in our League.

SINGLE FRAME SUNSETS

Gentlemen: A year or so ago there
was an article in Movie Makers on
filming clouds in single frames. I was
wondering if any members have tried
sunsets in this manner. I have had some
success, but I am curious to know if
any others have tried it.

Wallace C. Brockman, ACL
1535 Avenue B
Schenectady 8, N. Y.

Questions ^i

SHISglEIIESSaiiillllieilH

Answers

Readers are invited to submit basic problems of
general interest for answer in this column. Replies
by letter to individuals must be reserved for mem-
bers of the Amateur Cinema League. Address:
Questions & Answers, c/o Movie Makers.

16MM. SLIDE PROJECTION

Dear Movie Makers: Like a lot of
other filmers, 111 bet, I also work with
35mm. color transparencies, for which
I have one of the standard slide projec-
tors. Occasionally in my movies there
are swell individual frames which I'd
like to enjoy as a still, but I'm not
satisfied with the still-picture arrange-

ment on my 16mm. movie projector.

Can you tell me whether you think
these frames could be projected as col-
or stills on my slide projector?

Stanley W. Preston
Des Moines, Iowa

We see no reason why they could not
be — and quite successfully, too. Basically
all that is needed is to cut a mask from
opaque paper which has the outside di-
mensions of the regular 35mm. mask and
inside dimensions only just smaller than
the 16mm. image.

Center your selected 16mm. frame in
this mask, position mask and frame in a
cardboard Ready-Mount — and you're all
set to project. Mounting between regular
slide glasses probably will give still bet-
ter results.

In this column Movie Makers offers its readers
a place to trade items of filming equipment or
amateur film footage on varied subjects directly
with other filmers. Commercially made films will
not be accepted in swapping offers. Answer an
offer made here directly to the filmer making it.
Address your offers to: The Swap Shop, c/o
Movie Makers.

SAN FRANCISCO FOR U. S.

Fellow Filmers: I am anxious to ob-
tain some good original 8mm. Koda-
chrome coverage of such places as
Niagara Falls, New York City, Atlantic
City Beauty Pageant, Pasadena Festi-
val of Roses, Portland Rose Show, our
National Parks, etc.

In exchange, I would shoot 50 feet
of 8mm. original Kodachrome of San
Francisco, from vantage points not
usually found by the average visitor.
My movies would be from a tripod, ac-
curately exposed, with good composi-
tion and plenty of human interest.

Eric M. Unmack, ACL
Founder President
Westwood Movie Club
635 Victoria Street
San Francisco 27. Calif.

SPLICER FOR AUSTRALIA

Dear Sirs: It has long been on my
mind to suggest some sort of mutual
lend-lease in an effort to replace my
Kodak 16mm. Universal splicer, which
I had the misfortune to lose. These in-
struments of any make are unprocur-
able here.

May I ask, therefore, if any fellow
enthusiast would be prepared to pur-
chase me a splicer in exchange for an
equivalent amount of pictures on life in
Western Australia? I feel sure there
must be someone who would like to
satisfy his curiosity on life "Down Un-
der."

R. G. Button, ACL
27 Linden Gardens
Floreat Park, Western Australia

MOVIE MAKERS

ClOSeupS— What filmers are doing

During a post-holiday visit to New
York, J. Don Sutherland, ACL, pres-
ident of the Washington Society of
Cinematographers, reported on further
honors won by William C. Kuhl, ACL,
a fellow member of WSAC.

Mr. Kuhl. whose Cornucopia Revisit-
ed was an Honorable Mention winner
with the 1949 Ten Best, also has taken
top honors for a film on Washington,
D. C. in a city filming contest spon-
sored locally by the National Geo-
graphic Society. Staff members of the
motion picture, editorial and illustra-
tions divisions of NGS were the judges.

Movie Makers is pleased to announce
the election of Frank E. Gunnell,
FACL. as an Associate in the Oval
Table Society, an honors society of
photographers and filmers with head-
quarters in New York City. Elected for
his outstanding accomplishments in and
contributions to amateur filming, Mr.
Gunnell becomes — with Joseph J. Har-
ley, FACL. League vicepresident — the
second amateur movie maker to be
named to Associateship by OTS.

If you couldn't get away to catch the
Natchez (Miss.) Pilgrimage last win-
ter, you may be interested to know that
the dates this year are set for the ap-
proximate month-long period, March 4
through April 2. For detailed data on
this seductive subject matter, see Wel-
come to Natchez in Movie Makers for
February. 1949.

If the Hawaiian Islands have an un-
usually heavy influx of filming visitors
this year, the blame (or credit) prob-
ably belongs to Arthur H. Elliott. ACL.
of Chicago. Screenings of Paradise of
the Pacific, his own Island study, in-
clude presentations before the follow-
ing: The Amateur Movie Society of

Milwaukee, ACL, and the Kenosha
Movie and Slide Club, ACL, both in
Wisconsin ; the Calumet Movie and
Slide Club, in Indiana; the Edison
Camera Club, Western Electric Camera
Club, Chicago Cinema Club, ACL,
Palmer Park Movie and Slide Club,
and his own Metro Movie Club, all in
the Chicago area.

Europe bound for the Holy Year activ-
ities in Italy is Francis B. Murray,
ACL. of New York City. His plans call
for the production of two films — one as
a personal record and the other, run-
ning about 1000 feet of 16mm. Koda-
chrome. for distribution to schools and
churches in this country.

In a recent letter from Leonard Tre-
gillus, ACL, co-producer with Ralph
W. Luce, jr., of this year's Honorable
Mention winner, Proem, we learned
that the film has been sold to A. F.
Films, of New York City. The picture
will receive country-wide distribution
to art and general educational institu-
tions.

We learned a great deal about the
trials and tribulations of a television
producer in the course of a long talk
with Alfred Sylvanus, ACL, of Cleve-
land. Ohio. A film amateur of many
years standing, he entered the televi-
sion field actively at the end of the war
when he joined the staff of WEWS.
Cleveland's TV station.

Aside from his activities as manager
of video production facilities at the sta-
tion. Mr. Sylvanus also teaches tele-
vision at Western Reserve University
and still manages enough time to do
some personal filming. He started his
movie making with a Univex camera.
tried several others through the years
and is now using a Bolex H-16.

^COMMONWEALTH

proudly announces

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mon mftSK

Herring

M** LOUIS
^ HAYWARD
§ JOAN
* BENNETT

KIT CARSON

Jon Hall, Lynn Bari, Dana Andrews

THE CORSICAN BROTHERS

Douglas Fairbanks, Jr., Ruth Warw.ck,
Akim Tamiroff

SHIRLEY TEMPLE os
MISS ANNIE ROONEY

wmiam Gargan, Guy Kibbee, D.ek.e

Moore, Peggy Ryan

BRUCE ENGELS, ACL, author of Build Your Own Boom in January MOVIE MAKERS, is seen
above using this easy-to-make unit with two No. 2 flood bulbs in clamp-on metal reflectors.

JAMES FEN1MORE COOPER'S

3 LAST OF THE MOHICANS

Randolph Scott, Binnie Barnes, Henry
Wilcoxon

FRIENDLY ENEMIES

Charles Winniger, Charles Ruggles,
James Craig, Nancy Kelly

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This new, small size GYRO tripod handles a

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motor-driven Cine Special; also 35mm. motor

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Super Smooth Pan & Tilt Action.

Positive pan-locking knob. Tilt locking lever.

Quick wrist action locking knob for leg height

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Hunt for
human interest!

LEROY SEGALL, ACL

OUR family of four had just disembarked at King-
ston, Jamaica, in the British West Indies. We
were surrounded by clamoring native drivers:
"Taxi, Mister?" "You wanna see the Blue Springs?"
"Go to Spanish Town, Guv-ner?" "Drive to Bog Walk?"

As the clamor at last quieted a little, we said "No . . .
Take us to the Turtle Wharf." At first no one seemed
to know what it was we wanted to see. But we persisted,
and to the Turtle Wharf we finally went. It was a
bustling, aromatic sort of place where, in a large wooden
cage built below the water, huge sea turtles are stored
alive until sold. When an order is received, a native boy
jumps carelessly into the tank, wrestles a few moments
among the thrashing amphibians and soon emerges with
one of the big fellows in his grasp. In half an hour I had
recorded a sequence of thrilling action that few7 visitors
to Jamaica had ever even heard about.

We try for the same sort of subject matter in all our
travel filming. In Mexico City, it was the end of the
Viga Canal. Connecting with the famous floating gardens
of nearby Xochimilco, it is along this canal that all the
flowers and vegetables grown at Xochi are boated down
for distribution and sale in Mexico City. In Hawaii, it
was the famous "Kona Nightingale," a noisy breed of
donkey. In Canada, it was the freighter trip down the
St. Lawrence River to the Gaspe. On all of our trips, I
have been able to record sequences of lively human in-
terest because our pre-trip preparations had told me what
to look for.

These preparations consist chiefly of reading up in
advance about our destination and making notes of its
interesting movie possibilities. These notes are then tran-
scribed to a pocket notebook, grouped according to our
itinerary. I concentrate on sequences of human interest.
The average travel leaflet is not too helpful along these
lines. But I study them as well as the more helpful guide
books. Finally, when we reach our goal. I consult my
notes and let the guide know that we want to see these
points in addition to the usual shots.

Frequently I have asked to see things that the guides
never heard of. For instance, we never did get to see
a Negro with a beard at Guadeloupe, French West In-
dies, a red-headed native at Dominica, British West In-
dies, or the so-called Upside-Down Falls near Honolulu.
For guides are accustomed to show a tourist the Chamber
of Commerce high spots. One sees the famous buildings
and the scenery — the stuff the travel leaflets rave about.
This is. probably, worth seeing while you're there. But
your ticket contract doesn't require you to take pictures
— not motion pictures.

And yet a good guide can easily be the key to the
success or failure of one's travel films. A capable, under -

Photographs courtesy Grace Line

ON THE BEATEN PATH, but still picture-worthy, is this pontoon
drawbridge spanning watery "Main Street" of Willemstad, N.W.I.

OFF THE BEATEN PATH, and implicit with human interest, is this
tintype alley in public market at Caracas, capital of Venezuela.

standing guide will help one to get unusual shots. How
important this is was particularly brought home on our
late Guatemala trip. The guide that the tour company
provided us was very unaccommodating. In fact, he was
much more interested in making amorous advances to
mv unmarried sister-in-law than in helping me secure
pictures. In a case like this, it is best to change guides
immediatelv — which we did. Fortunately, the new one
cooperated wonderfully with us on our pictures and
evinced no unusual interest in the young lady.

Andy, our guide in Yucatan, was one of the best we ever
had. He gave us just enough of the historical Mayan
ruins to make our trip complete. On the other hand, he
went out of his way to show us the life and habits of the
people. This was what we wanted. One of our notes called
for a visit to a present day Mayan home. Andy arranged
for us to visit such a hut and to [Continued on page 76]

People make the pictures, says this veteran travel filmer,

citing helpful hints for the touring cameraman

USING TELEPHOTO LENSES

An enlarged image, better backgrounds, perspective and

balance, these and other riches are yours with a telephoto

JAMES W. MOORE, ACL,

WE found last month, in Using the Wide Angle
Lens, that there were far more functions for this
valuable objective than simply that of enlarging
the camera's field of view. There were, for example, its
ability to increase depth of field at any given aperture,
its facility of composing certain scenes more pleasingly
in the frame, its lengthening or deepening of perspective,
and its consequent effect of accelerating motion coming
towards the camera.

Much the same multiplicity of talents exists in the
telephoto. Commonly regarded simply (and often solely)
as a means of creating closeups from long shot camera
positions, these longer-than-standard focal length lenses
may be — with understanding — the true magicians of
movie making. Their abilities are, if anything, even more
varied and more helpful than those of the wide angle.

To begin with, there is no such thing as the telephoto
lens for a given camera. Their focal lengths — and there-
fore their powers — may vary from twice that of the
standard lens to (normally) six times that standard.
With an 8mm. camera, for example, aU/j inch telephoto
creates exactly the same magnification (3x) as does a
3 inch lens with Sixteen. In the discussion which follows,
therefore, we shall refer to the differing telephotos only
by their powers of magnification, thus: 2x, 3x, 4x and
so on.

ENLARGED IMAGE
In examining into the amazing abilities of a telephoto
lens, let's look first at its most commonly accepted func-
tion— creating an image larger than that of the standard
lens from the same camera position. This it most surely
does, as is so effectively illustrated in Figs. 1 and 1-A.

Photographs by LEO J. HEFFERNAN, FACL

Here Fig. 1 would be a standard-lens take from the pier
end, with 1-A representing the approximate enlargement
created by a 3x to 4x telephoto.

Use of the telephoto in this way may be prompted by
various reasons: shortness of time, shortness of breath,
or plain physical inability to approach closer to the sub-
ject. Whatever the reason, the effect is excellent after a
standard-lens long shot — as long as this so-called "one-
two" treatment is not used repeatedly. If thus employed
on succeeding subjects, the technique quite soon becomes
apparent and tiring.

BETTER BACKGROUND

Just as the wide angle lens at any given aperture in-
creases depth of field over that of the standard lens, a
telephoto lens decreases this important quality. This in-
herent ability often may be used to great advantage by
the knowing movie maker.

In Fig. 2, for example, the lovely lady is suffering
(photographically, that is) from unfair, undesirable and
wholly unneeded competition to her charm. As pictured
by the standard lens, her background is too sharply in
focus, her surroundings too cluttered and her gleaming
head seems plastered against the busy hangings. There is,
in a word, too much depth of field.

An experienced cameraman would now call on a tele-
photo. Although it will operate at the same aperture as
the standard lens, its longer focal length will decrease
the depth of field. Fig. 2-A shows the result with a 3x
lens. The background has been satisfactorily softened, the
distracting lamp and window have been excluded from
the scene, and there is now a distinct sense of separation
from the setting. [Continued on page 72]

ENLARGED IMAGE

FIG. 1: Train your standard lens on the Statue of Liberty from end of
the dock, and you'll get this long shot. Haven't time to move closer?

FIG. 1-A: Turn to your telephoto (about 3x to 4x) and you can
catch this closeup. Repeat of this 1-2 order becomes obvious.

BETTER BACKGROUND

FIG. 2: Short focal length of standard lens sees too much too
sharply, both at sides and on background. Separation is needed.

FIG. 2-A: A 3x telephoto clears up the confusion. Background is
softened, distractions deleted and subject is freed from setting.

BETTER BALANCE

FIG. 3: In all long shots, balance of foreground to background
objects is determined by lens perspective. Standard lens above.

FIG. 3-A: With camera back (note grass) and 2x lens, foreground
object holds same size as background subject grows in dominance.

BETTER PERSPECTIVE

FIG. 4: In closeups, too, perspective is altered by lens focal
length. Grotesque distortion above results from wide angle lens.

FIG. 4-A: Normal perspective is restored by compressive effect
of telephoto (3x here), with camera drawn back for same coverage.

PROJECTION POINTERS

A Hollywood expert applies professional standards to the amateur screen

MAURY KAINS, ACL

BECAUSE I have been a professional Hollywood
cameraman for a number of years, I am frequently
asked for advice by enthusiastic amateurs who wish
to improve their technique. In the same manner, I too
am still learning by talking with and observing the habits
of the average amateur. At the moment, my big interest
is in the improvement of amateur projection practices.
From what I've seen at the club meetings I attend, I
think I can give you a few helpful pointers. Are you
listening?

Oddly enough, perhaps, our first projection difficulty
is created in the camera. For, in spite of meticulous care,
small particles of dust or other foreign matter will ac-
cumulate in the camera aperture. Once lodged there,
these tiny particles begin to imprint their image around
the edges of the film frame. Our pictures sprout "whis-
kers." And, when highly magnified as in projection, they
can be a serious blemish to an otherwise perfect picture.

It did not take the Hollywood studios long to discover
this fact and to provide a remedy. In a sense, they gave
these whiskers a shave. This consisted of reducing slightly
the size of all projector apertures, so that they were
smaller all around than the standard camera aperture.
This had the effect of shaving off or cropping out what-
ever dusty frame lines might be registered by the camera
aperture.

Frank E. Gunnel!. FACL

But another problem then presented itself. Crisp and
perfect frame lines still were not an accomplished fact.
The projected pictures had slight out-of-focus borderlines
instead of clean-cut edges. What caused this? The trouble
was, and still is, that we cannot simultaneously focus
sharply on both the projector's aperture and the film
emulsion. They are inescapably in different focal planes;
therefore a discrepancy of focus cannot be avoided. But,
there is a solution to this too, as you will see.

It is an easy answer, but it has stood the test of time.
Every theatre screen has a dead black border around it,
comprised either of matte black paint or of some non-
reflecting black material. Black velvet is unsurpassed for
the purpose. I fancy I hear many of you saying: "So
what . . . I've known that for years." And my answer to
that is this . . . Yes, you have seen these dead black bor-
ders hundreds of times, so often in fact, that you didn't
give them a second thought.

The next time you are in a movie theatre, walk up
close to the screen during projection and carefully in-
spect these borders. You may find out something that you
never realized before. You will discover that the picture
is actually being projected so that it overlaps these black
borderlines on all four sides. The black borders, absorb-
ing nearly 100 percent of the light of the overlapping
image, make it almost impossible for you to detect this
cropping tactic from the auditorium. And yet with only
this simple solution, the theatres can produce clean-cut
frame lines every time. With a little care, you can achieve
equally excellent results.

Before taking up the actual preparation of your screen
in this way, let's see what technical problems (if any)
are involved in creating the picture to go on that screen.

We find, to begin with, that there exists exactly the
same type of mechanical crop- [Continued on page 68]

NOT WIDE ENOUGH a border and too high a screen place-
ment, creating distortion, mark this specifically posed picture.

PICTURE OVERLAP on border, suggested by dotted lines, creates crisp
sharp edges on screen image. Border should be 3 inches plus in width.

Photographs by Lewis C. Cook

POSITIVE PROTECTION for your floors and your camera, the tripod
triangle (above and right) is adjustable, portable, easy to use.

Build a
tripod triangle!

LEWIS C. COOK

THESE STRIPS of veneer wood, three nuts
and bolts, and a wooden centerpiece as a
hinge comprise this solution to slippery
tripod surfaces. Camera height is adjust-
able by use of three holes in base strips.

3 REQ'D
VENECR MATERIAL TO BE I" THI

Collapsible, portable and easy

a handy

to make, here's
accessory for every

THERE is no intent on the part of this back-porch
inventor to compete with the Hollywood experts. But,
ever since the two stimulating articles (May and
August, 1949) by that friend of good filming, Maury
Kains, ACL, we have been pondering the problem of a
non-slip tripod holder. Here, to add
to those two already suggested by
Mr. Kains, is our solution.

The Purpose: To prevent your
tripod legs from slipping on marble,
waxed floors or any other treacher-
ous surface. The Features: Easy to
make, instantly adjustable, smoothly
collapsible and light in weight.

Here are the materials needed to
reproduce exactly this tripod tri-
angle: three strips of wood veneer,
1/2 inch thick, 2 inches wide and 24
inches long; one strip of the same
material, 6 inches in length; three
flat-headed brass nuts and bolts, 1/4.
inch in diameter and 1 inch long,
with three washers for same. The
tools called for should be found in
any home kit — a saw, brace and bit,
screwdriver and a pair of pliers.
Actual construction is so simple and
should be so obvious from the illus-
trations that detailing it is deemed
unnecessary.

In operation, the triangle provides
for two easy and immediate adjust-
ments. First, you may adjust for
camera height by switching your
tripod legs from the near to the far
holes, as is desired. Second, a sim-
ple push of the foot against one or
another of the triangle sections, to
rotate it as seems needed, aids in
leveling your final setup.

home filmer

EASE OF OPERATION with Morton fading control is shown by
author. Down stroke fades out, up fades in, just as you'd expect.

THE ultimate dream, surely, of many serious movie
makers is to be someday the proud owner of a Cine-
Kodak Special. For, on or built into the Special one
finds most of the worth while features which make ad-
vanced filming effects possible.

One of these features, of course, is the built-in adjust-
able shutter. With it one is able to produce at will smooth-
running fade-outs and fade-ins at the ends of scenes, and,
by superimposing one of these over the other, the camera-
man can produce an equally smooth and impressive lap
dissolve.

Or can he? Can even the most careful cameraman be
sure of creating every time a fade or dissolve of profes-
sional smoothness? The Special, in one form or another,
has been around a long time now. It has, over the years,
built up a legion of loyal supporters, filmers who now
feel that they could not work with any other camera.
It has also, I fear, built up a considerable number of in-
satiable perfectionists who feel that its dissolving shut-
ter design leaves something to be desired.

PROBLEMS OF OPERATION
For, if the operator's forward thumb pressure is not
firm enough, during movement of the Special's shutter
arm, the arm tends to slip into one of the position notches
and spoil the fade. Again, if one's forward pressure is
too >firm, the camera itself is likely to move on the tripod,
resulting in an unsteady picture. It was not long before
this proud, and perhaps stubborn, owner of a Cine Spe-
cial decided to do something about this.

Fading control

for the
Cine-Special

AL MORTON, FACL

DESIGN EXTENDS SHUTTER ARM
What I designed (and had built) was a simple control
for the shutter arm that enables me to produce silken
smooth fades and dissolves at will. Not just once in a
while, but every time! I have been using this device for
more than four years now, with excellent results. During
that time it has aroused the interest (not to say envy) of
every Cine Special owner who has seen it. In fact, so
persistent has been amateur interest in this little gadget,
that Movie Makers has at last persuaded me to outline
its construction for individual filmers who read our mag-
azine. In so doing, I nevertheless reserve the rights to its
commercial production.

BEGIN WITH BASE PLATE

First, to form the base plate, secure a piece of brass
1 inch wide and *4 of an inch thick and have it milled
as shown in Fig. 1. Although the completed base should
be about S1/^ inches long, it is better to start with a piece
longer than necessary and cut it down to the desired size.
I See Fig. 2. ) The base not only forms a guide for the
gear rack which moves the shutter arm, but its slot
(Fig. 2) forms a new track, without position notches,
along which the shutter arm travels.

To attach the base plate, drill and tap the thick head-
plate of the camera to receive two small screws. This is
the only alteration necessary to the camera. Naturally, the
screws should not project into the camera any farther
than necessary to hold the plate on. With the base thus
mounted, you now should be able to move the shutter
arm up and down smoothly with your finger without its
catching in the position notches.

THE RACK AND GEAR
Next, you will need a small brass gear about % of an
inch in diameter, with 36 teeth on a 3/32 inch face, and
a section of brass rack to match. Chances are, the rack
cannot be had in less than % of an inch width; if so,
you will have to do a little filing so that it will not bind
on the shutter arm. The rack, which should be about 2%
inches long, is soldered to a section cut from the corner
of a square brass tube in an L shape. The long side of
the L is just wide enough so that the completed assembly

How a rack, a gear and a two inch extension handle

can facilitate fading with the Cine-Kodak Special

Photographs by Al Morton, FACL

DRILL & TAP 2 HOLES
FOR MOUNTING SCREWS

BASE

SECTIONAL
VI EW

SQ. BRASS TUBING

COLLAR BOX

GEAR RACK

"ail

HANDLE

COLLAR

FIG. 1: Component parts of fade control (save for gear and
attached axle) are diagrammed in exploded view above. Base
plate here is in first machined form, is later shaped and slotted
as seen at right. Gear rack is soldered into square brass tubing.

FIG. 2: Collar box is here attached to finished base plate and
rack assembly has been notched to accept fading arm of camera.

will slide smoothly in the milled and slotted groove of the
base. The flat part of the gear rack assembly is notched
so that it will fit around the shutter arm (see Fig. 3).
In this position, the rack moves the arm up and down as
it, in turn, is moved when the gear is turned.

The round gear is fastened to a short section of %
inch brass rod as an axle and is mounted as shown (see
Figs. 2 and 4). The hangar or collar box, meanwhile, has
been fastened to the base with screws. Naturally, these
screws should be filed flush with the underside of the base
so they will not interfere with its snug fit to the headplate
of the camera. You can have the collar box milled from a
piece of brass at the same time you have the base done.

FORMING THE HANDLE
A small collar and threaded rod to serve as a handle
(see Figs. 1 and 2) complete the gadget, which can then
be plated to harmonize with the rest of the camera. The
threaded rod serves the dual purpose of handle and as a
setscrew with which to fasten the collar to the gear shaft.
It is a good idea to file a flat place on the shaft so that
the contact of this setscrew handle will not slip. A little
nubbin of bright-colored plastic can be threaded on the
other end of the handle to dress up the assemblv further.

EASE OF OPERATION
In use. the handle is simply moved down to fade out
and back up to fade in. making the smoothest of fades
at the operator's will. The device has several advantages
over an automatic fading control, in that the operator can
vary the tempo to suit his taste. Also, it has advantages
over a lever type of shutter control, in that a given degree
of arc on the handle produces a corresponding degree of
movement of the shutter arm. Further, when not in use,
the handle, gear wheel and sliding rack are easily and
quickly demountable.

In presenting this design for the personal use of amateur
filmers, the author specifically reserves the rights to its
commercial production and exploitation.

FIG. 3: With base plate and collar box screwed to camera head
plate, rack assembly is easily positioned around fading arm.

FIG. 4: The complete device installed on C-K Special. Operat-
ing handle serves also as a setscrew to hold gear mount in place.

J Photographs by Charles H. Coles, ACL

FIG. 1: One-source lighting, with all lamps beside camera, cre-
ates dull, flat effect and illuminates scene for exposure only.

FIG. 2: Two-source lighting, with modeling lamps high and at
one side of subject, adds shadows to create sense of roundness.

THREE-POINT LIGHTING

How to combine a camera light, modeling light

and back light for easy indoor filming

CHARLES H. COLES, ACL

THE-, first and most obvious purpose of any lighting
unit in interior filming is to throw enough light on
the subject to create adequate exposure. This is not,
these days, a difficult operation. We find, for example,
that only two RFL-2 lamps (the built-in reflector type)
placed six feet from the subject create an exposure of
//2.8 with indoor color film. Two regular No. 2 flood
bulbs in efficient metal reflectors at the same distance re-
turn an exposure of //3.5.

EFFECTS ARE IMPORTANT
However, obtaining adequate illumination of one's
subject should not be regarded as the only purpose of an
interior lighting setup. There is the equally important
matter of the effect created by one's light placements.
Using only a single lamp for clarity, we examined in
December (see How to Place Lights) some of the basic
effects at the cameraman's command — front lighting,
three-quarter lighting, top lighting, etc. It will be the
purpose of this discussion to show how these effects may
be combined through the use of two or more lighting
units on a> single scene.

CAMERA LIGHT FOR EXPOSURE
To begin at the beginning, let's double back briefly
to single-unit, full front lighting (see Fig. 1). The sim-
plest setup here is to place your lamp in a reflector and
to position it close to the camera and preferably slightly
above it. This is lighting for exposure only. For, such
shadows as are cast by this light placement will fall
behind the subject, are unseen by the camera and there-
fore create no sense of depth and modeling. Adding
more units in the same front position will, of course,
raise the exposure level — but it will in no way change
the lighting.

MODELING LIGHT FOR DEPTH
Thus, adequate as full front lighting may be for ex-
posure, it soon becomes uninteresting. It creates no effect.
A second light source is needed off to one side to create
an illusion of depth. This second, or modeling, light is
placed several feet to the right or left of the subject and
is raised high so that it may be directed downward at
an angle of about 45 degrees. We have now illuminated
the subject with what is commonly called portrait light-
ing.

In Fig. 2, for example, the modeling light is coming
in high and from the right. Its effects are the following:
( 1 ) it highlights pleasingly the left side of the girl's face
and hair; (2) in so doing, it casts shadows on the right
side of the face, and (3) it helps to illuminate for ex-
posure the little girl's doll. The front (or camera) light
source, in the meantime, still carries on its primary func-
tion of illumination for exposure — and also serves to
lighten the shadows purposely cast on the face. (The
relative positions of these two units, by the way, are
graphically revealed in the two tiny hotspots on the
telephone mouthpiece. )

TWO UNITS SHOULD MATCH
Here, then, is a basic and quite effective two-light
setup. As illustrated, it actually has employed only two
No. 2 photofloods in metal reflectors. But there is no
reason why it should not employ, in the same arrange-
ment, twice or three times as many lamps if they are
needed for exposure. There is, however, one thing to re-
member. For the best balanced results, the lamps used
at one position (camera light) and the lamps used at the
other (modeling light) should be of equal number and
strength. It is in their unequal distances from the subject
that one group out-illuminates the other.

LIGHT ON BACKGROUND
So far so good. But let us see now if we can improve
our effects still further. We note, for example, that the
background in Fig. 2 is dark and unnatural in compari-
son to the warmly lighted figure. A third light source is
needed to raise the entire exposure level and in so doing
bring the background into better balance (see Fig. 3).
We will not want this setting to be of equal strength with
the subject, but rather at a contrast range of around 1:2
or 1:3. Exposure meter readings on subject and setting
soon will determine the correct level.

BACK LIGHT FOR BRILLIANCE
If still another light source is available, it may be
used profitably to provide back lighting on the subject
(see Fig. 4). This back light is an effect light only, con-
tributing nothing to the overall exposure. It does con-
tribute to the picture, however, in three important ways:
(1) it outlines the subject, pulling it away from the
background and heightening the sense of depth; (2) it
rounds out the lighting on the hair, and (3) it adds
sparkle and brilliance to the entire picture.

Positioning your back light behind the subject re-
quires some ingenuity. First off, neither it nor its support
may be seen by the camera. One method is to use an

RSP-2 lamp (or the less powerful 375 watt medium
beam) in a clamp-on holder. This in turn is clamped to
the picture molding near the ceiling or to a handy Vene-
tian blind, an open door or a high bookshelf.

A light boom, of course, is the ideal support for your
back light, since it is readily maneuverable and specifi-
cally designed to position lamps high and out of camera
range. Although not yet widely used by amateurs, these
booms will gain increasing favor as their handiness is
appreciated. (For data on commercial light booms, see
Equipment Survey: 8, December, 1949; for a homemade
unit, see Build Your Own Boom, January, 1950.)

PROTECT FROM FLARE
Secondly, not only must your back light be unseen by
the camera, it also must be placed so that it cannot throw
light directly on the camera lens. Ordinary flood lamps
of either type — and even the built-in spot lamps — tend
to spill enough light onto the lens to cause flare, espe-
cially if the lens glass is uncoated. They should, there-
fore, be mounted in a deep and narrow reflector (see Fig.
5), and the lens should be further protected by an effi-
cient lens hood. Still safer (and more effective in back
lighting) is the use of the Fresnel-type spotlight. Highly
controllable, such a unit puts [Continued on page 73]

RVIBES

FIG. 3: Background is brighter with addition of extra lighting
unit at camera. Readings on subject and set show contrast level.

FIG. 4: Three-source lighting, with placement of lamp high and
to rear, adds brilliance and sense of separation from background.

FIG. 5: Back lighting units discussed by author are (I. to r.)
clamp-on flood lamp, boom-light flood and Fresnel-type of spot.

FIG. 6: Withdrawal of modeling light from setup in Fig. 4
softens overall balance but gives pleasant effect in color filming.

FEBRUARY 1950

16mm Diplomat. Smooth helical gear drive for
quiet operation, long life. Reverse operation,
still picture provision. Safe-lock sprockets to
protect film. $273.30.

Flatter your pictures

with a Bell s Howell

projector

8mm Picture Master. Combines theater-quality projec-
tion with ease of operation. Floating film construction
prevents film wear. Leader in the 8mm field. $262.00.

You can do a lot for your home movies
after they've been shot and processed. The
important step of editing, and good projec-
tion, can improve their quality immensely.
For that real professional touch that
makes the difference between satisfactory
and perfect, you'll want the finest equip-
ment you can buy . . . Bell & Howell !

8mm Regent. Better illumi-
nation than any other pop-
ular make, regardless of
lamp wattage. Easy to
thread, easy to operate.
Built for dependable, last-
ing performance. $149.50.

Single - Case Filmosound.

For 16mm sound or si-
lent movies. Governor-
controlled gear drive
assures constant film
speed. Natural, flutter-
less sound and many
other important fea-
tures. With six -inch
built-in speaker,
$399.50. (Larger, sepa-
rate speakers avail-
able.)

MOVIE MAKERS

8mm FilmotiOll Editor. All the features of the 16mm
Filmotion Editor specially designed for 8mm film. In-
cludes Filmotion Viewer, Model 136 Splicer and two
rewinds. $118.00.

16mm Film Editor. Provides brilliant enlarged single-
frame image for exact choice of cutting point. Includes
136 Splicer, two rewinds and B&H Direct Viewer.
400-ft. capacity, $72.00. 2000-ft. capacity, $80.00.

and Bell & Howell

Editing Equipment!

8mm Film Editor. Same features as 16mm Editor spe-
cially adapted for 8mm film. Accurate, easy to operate.
$51.50.

16mm Filmotion Editor. Finest in personal editing equip-
ment. Filmotion Viewer shows brilliant miniature
movies. Lever cuts slit in film edge for identifying
splicing point. Includes Model 136 Splicer, 2 Heavy-
duty 2000-ft. rewinds. $151.00.

You buy for a lifetime when you buy

8mm and 16mm Film Splicer. Easily and quickly makes
permanent welds that pass undetected through pro-
jector. Sturdily built. $21.50.

Bell £ Howell

Chicago 45

MOVIES IN COLOR: 3

Whether you favor the reflected- light or incident-light type of meter, here's how

to use it in determining correct color exposures outdoors . . . Part 3 of a series

MOVIES in Color: 1, presented in Movie Makers
for December, 1949, surveyed the basic charac-
teristics of all the existing brands and types of
color film currently being offered the amateur movie
maker.

Movies in Color: 2 (January, 1950) discussed in de-
tail the effects of exposure on color quality. It outlined
how correct outdoor exposures could be determined with-
out an exposure meter by a combined estimate of the
type of light falling on the scene and the average tone or
color of that scene. It gave, in conclusion, a complete
table of recommended exposures (based on these esti-
mates) for average, light and dark toned subjects filmed
under the five standard types of outdoor illumination.

The correct techniques in using an exposure meter to
determine outdoor color exposures follow. The discussion
considers the use of both the reflected-light and the
incident-light meter, in that order. — The Editors.

USING THE REFLECTED LIGHT METER
A reflected light type exposure meter is one which
measures the light reflected from the subject. To do this,
a reading is made by pointing the meter directly at the
subject from one or another recommended position.

Complete instructions for using the meter are supplied
with each instrument, of course. In practice, however, it
would seem as if some filmers meet with indifferent suc-
cess when using the meter for the first time. This is
probably due to the fact that the instructions are not
truly followed. But whatever the cause, many meter own-
ers adopt a simple formula which serves them — such as
taking a reading of the palm or back of the hand, read-
ing the subject's face, etc. Another system is to take a
reading of the lightest and the darkest objects in a scene
and then to use a stop halfway between those indicated
by the two readings.

If any one of these systems returns you consistently
good exposures, there is no reason why you should not
follow it. However, for those cameramen who desire to
understand the true functioning of a reflected light meter,
there are a number of further considerations which are
of great interest.

SCALED FOR AVERAGE SUBJECTS
Reflected light exposure meters are calibrated in such
a way as to give correct exposure readings for medium-
toned (average) subjects. It is often recommended, for
that reason, that a "gray card reading" be made at the
subject position. A gray card is simply a piece of gray
cardboard, usually about 8 by 10 inches in size, which
reflects approximately 18 percent of the light that illu-
minates it. With the meter held close to it, so that rays of
light from no other object are included, the reading thus
made will indicate the correct exposure for average sub-
jects.

If the subject is light-colored, the lens diaphragm is
then closed down one half stop from the average reading.
If the subject is dark-colored, the diaphragm is opened
up one half stop.

METER CANNOT THINK
Now, let us suppose that the meter is pointed at a
light-colored object — instead of at a gray card. The meter
has no brain, and so all it can do is indicate the strength
of the light being reflected by the light-colored object.
This light is certainly more than 18 percent of that which
is illuminating the object. Thus, if we expose the film
as indicated by the meter under such circumstances, the
light -colored object will be reproduced as a medium-
colored object, because that is the way in which the meter
is calibrated. The same error, in reverse, occurs when
a reading is made of a dark-colored object.

POINTS TO REMEMBER
Therefore, to use the meter properly, a filmer must
keep the foregoing facts in mind. There are three things
to remember:

1. When the meter is pointed at a medium-colored
subject, the exposure which is indicated may be used.

2. If the meter is pointed at a light-colored subject,
more exposure than the meter indicates should be given.

3. If the meter is pointed at a dark-colored subject,
less exposure than the meter indicates should be given.

This leaves us with the question, how much more, or
how much less, exposure must be given when a reading
is taken of other than a medium -toned object. This de-
pends upon the tone of the object. A fair-skinned person
or a blonde will require one half to one full stop more
than the meter indicates, if a reading is taken using the
light reflected from skin or hair. When a reading is made
of whitish objects, exposure should be increased by two
full stops. When a reading is made of an extremely dark
subject, two full stops less than the meter indicates should
be given. These are extremes, of course. The filmer will
find it necessary to appraise the in-between subjects by
accumulating experience.

USING THE INCIDENT LIGHT METER
The incident light type exposure meter measures the
light falling on the subject, rather than reflected by it, to
calculate the exposure. For many years, it has been
agreed by experts that this was the method least likely to
lead to error. But it was only recently that this type of
meter has been available to the amateur movie maker.
In use, the incident light meter is pointed toward the
camera from subject position. It will then indicate an
exposure which is correct for medium-toned subjects. If
the subject is light colored, the diaphragm should be
closed down one half stop. For dark colored subjects, the
diaphragm is opened up one half stop.

In this connection, it is interesting to note that the ex-
posure table given earlier (Part 2, January) functions
as does an incident light meter, since it depends on the
light falling on the subject. It also should be noted that,
in effect, the incident light meter provides the user with
what would be a gray card reading with the reflected
light meter. This is, however, done more easily and with-
out the need to carry the card about or to hold it up as
the reading is made. [Continued on page 77]

PORTABLE REFLECTOR

There are many situations in both
indoor and outdoor filming when a
closeup shot requires, for the best
results, the use of a reflector. As an
expedient, amateurs have resorted to
a card, an open newspaper or a white
sheet — all of which are of question-
able efficiency. Commercial reflecting
surfaces, on the other hand, are ex-
pensive, cumbersome and difficult to
transport. Finally, no one of these is
adequate in size for more than a
closeup rendering.

I decided therefore to work up a
full-length reflector, sturdy enough
to stand by itself. The accompanying
photographs show the result, both in
use and knocked down. Weighing
only fifteen pounds in an awning
cloth case, the unit is collapsible,
portable, efficient and cheap. It can
be set up in about three minutes and

EDWARD W. BEACH, ACL, demonstrates his full
length reflector in use and collapsed form.

provides a surface 36 by 60 inches
in size.

Should the photographer desire a
more brilliant reflecting surface than
the roller shade, it can be coated
with a high quality aluminum paint.
Or at added expense, even a strip
of beaded screen cloth may be used,
by substituting a 2^2 inch roller.

I shall be pleased to supply to in-
terested readers complete specifica-
tions, reproduced in photo-offset
form.

Edward W. Beach, ACL
Occidental Hotel
Muskegon, Mich.

TITLE TO SCENE

A simple and yet fairly effective
wipeoff from a title to related live
action can be created by those film-
ers using the familiar small-card
titlers offered by many camera manu-
facturers.

The trick is to shoot your title
outdoors, under lighting which calls
for the same exposure as will be
given the scene behind the title card.
With the caption footage completed,
then flip out of the way both the sup-
plementary titling lens and the metal
frame holding the card. The fixed
focus setting you were using on the
camera lens will now be correct for
the scene being filmed.

Harold Avery
Terra Haute, Ind.

FAKING AIR FOOTAGE

If your filming plan calls for a
few brief clips cut in as if pictured
from a plane, you naturally will
hesitate to take a real flight especially
to get them. Facing this same prob-
lem, I worked out a couple of expedi-
ents which simulate air filming. If
the results are used as short, sharp
inserts, I think you will find them
satisfactorv.

The first method suggests a ground
view as it might be seen in straight
and level flight. For it, a number of
air photos are mounted carefully edge
to edge on some version of a scroll
titling device. The pictures can be
purchased (on matte paper, please),
and they should be exactly comple-
mentary to each other. With them
and the illumination in place, the

Pictures, plans and ideas to
solve your filming problems

scroll is advanced slowly across in
front of the running camera. Ciga-
rette smoke or the fumes from dry ice
can be used to suggest clouds and to
obscure the joins between the related
pictures.

In my second system the photos
are mounted on a turntable surface
like adjoining cuts of pie. With the
camera pointing downward on a line
tangent to the arc of the turntable,
the pictures are revolved slowly. The
effect here will be one of the plane
taking a curve. In either case, it will
be well to run the camera at 32
frames a second in order to smooth
out the movement.

A. Rossi, ACL
Paris, France

REVERSE MOTION ON 8

Sooner or later every 8mm. filmer
(like myself) takes a crack at reverse
motion shooting, with the camera
held upside down, only to find on
turning the processed film strip end
for end that he also has switched all
images on the film from right to left.
This result at first seems to mark
the end of using reverse motion with
8mm. titles. Perhaps a mop-up of the
methods which can be used may be
of help.

To begin with, there is the system
of shooting your titles as reflected
in a mirror. Here, the title letters are
set up as usual, but in their mirror
image they are immediately reversed
in order. Filmed in this way, they
will come back straightened out on
the screen. Remember, though, to
focus from camera to mirror to title
card.

A simpler method, it has seemed
to me, is offered by originally setting
up all the title letters in reverse or-
der. Note that this includes the turn-
ing of each letter from right to left,
as well as the words themselves.

Finally, if you use a back-cranking
8mm. camera such as the Bolex H-8,
you can simply shoot your titles in
reverse with the camera in its normal
upright position.

A. T. Starledge
San Francisco. Calif.

Hints from Hollywood

IHE past month's releases have detracted nothing from
the rich reputation professional producers have been
building. Foreign and domestic, current films represent
new highs in motion picture art. Of especial interest here
is the narrowing gulf between amateur and professional
techniques, opening new vistas to both. — D. C.

NEWSREEL ARTISTRY
All the King's Men : The legendary Huey Long was the
model. Robert Penn Warren supplied the novel. Robert
Rossen, producer for Columbia Pictures, wrote, produced
and directed the movie. The result is a powerful and stir-
ring dramatization of one man's life and the turbulent
times that aided the rise — and fall — of this still contro-
versial American figure.

The film was produced in its entirety on location in
three northern California towns. In so far as he was able,
Rossen chose non-actors, employed in occupations similar
to their screen roles, to play themselves in the picture. He
thus achieved a degree of realism rarely before seen in an
American production. No studio sets were employed, and
shooting went on in all kinds of weather. Newsreel type
photography, as adapted for dramatic use in the March of
Time series, was utilized to its fullest advantage. In keep-
ing with the mood and style of the picture, the lead title
assembly was superimposed over a moving background
montage of scenes from different parts of the story.

TITLES IN TALKIES
Adam's Rib: A delightful husband-and-wife farce was
penned for Metro-Goldwyn-Mayer by Broadway's favorite
husband-and-wife team of Ruth Gordon and Garson
Kanin. The yarn concerns the wedded bliss of two legal
eagles. Spencer Tracy and Katharine Hepburn, who come
near to foundering when they find themselves on opposite
sides in the trial of a willy-nilly female who has plugged
her faithless spouse. This state of affairs makes for some
pretty hilarious entertainment, even when the principals'
court behavior gets a bit beyond belief.

Of immediate interest to the amateur will be the lead

Metro-Goldwyn-M

Aids for the amateur cameraman,

to be seen in current theatrical films

Columbia Pictures

CONFLICT IN THE KITCHEN, a sequence from Adam's Rib, suggests
only one of many natural domestic settings in this MGM comedy.

ROUGH AS A NEWSREEL is this cluttered and starkly lighted
climax to All The King's Men, biography of a bayou "Kingfish."

title assembly and the subtitles (the first of the latter seen
in a professional film in a long while), which are lettered
on curtains of a miniature stage, being lowered and raised
as the need demands. Home movies themselves come in
for some gentle spoofing, when Tracy and Hepburn en-
tertain friends of an evening with their latest reels of
homemade "mellerdrammer." Their films do not, we has-
ten to add. measure up to Ten Best standards.

STREET SCENES
Bicycle Thief: Chosen by the New York film critics as
the best foreign film of the year, this tender and moving
story of simple people caught in a set of circumstances
beyond their control is the work of Italy's Vittorio de Sica,
who produced the brilliant Shoe Shine two years ago.

It is a simple saga, and yet one of deep trenchancy. In
it, a long unemployed father (Ricci) and his young son
set out with high hearts on a new job — that of bill posting.
Their joy in the turn of fortune, however, is destined to
be short lived. For in the first hour of their work a thief
makes off with the precious bike on which their employ-
ment depends. Through the rest of the film, the camera
follows Ricci and his son as they go about the ancient
streets in search of the thief. The poignancy of their hope-
less task is heightened by the cold, unfeeling aspect of the
streets. Not without humor, their search involves them in
some highly amusing situations, with laughter and tears
fighting for control.

Since de Sica never uses a studio, all of his filming was
done in the streets, ordinary houses and public buildings
of the city. These natural settings do more than lend au-
thenticity to the story, however; for they are themselves
symbolic of the struggle of poor and oppressed people
against overwhelming odds. Non-actors play the roles in
the film with incredible skill, a tribute to their brilliant
direction.

PLANNING MAKES PROGRAMS

JOHN C. SHERARD, President
8-16 Home Movie Makers, Kansas City, Mo.

A MATEUR movie clubs are great things. Every movie
^^L maker should belong to one, if at all possible.
But there isn't one in your community, you say?
Then get busy and start one! The ACL will be happy to
furnish you with a complete bulletin outlining organiza-
tion plans and future programs.

Now what about programs? Well, they can be a prob-
lem even in old established clubs; for a beginning or-
ganization securing attractive programs can mean suc-
cess or failure. Often, persons in charge of club programs
overlook the fact that what they offer must serve both
advanced and beginning movie makers. While more
technically minded filmers may enjoy a long discourse
on the Mathematical Formulae of Lens Design, 95 per-
cent of the audience may be bored stiff. And yet that
95 percent may be very ardent filmers. The obvious an-
swer is more variety, so that each member will find at
least one element of the program that pleases him.

SOMETHING FOR THE GIRLS
Few clubs, for example, ever present anything of par-
ticular interest to women. And yet more and more wo-
men are becoming interested in our hobby. So why not
plan an annual Ladies Night program? One feature
could be a film contest for the women only, but judged
by the men! Another scheme, already a huge success
with a club I know, has been an old fashioned spelling
bee. A mixed group are given movie terms to spell, with
the winner or last person spelled down receiving a prize.
The women have enjoyed this and have become more
familiar with movie technology as a result. Still another
club features regular projection programs by women
filmers, particularly those who have achieved some out-
standing recognition.

SPEAKERS SHOULD QUALIFY

A speaker at regular intervals is essential to any well
balanced program. The tendency, however, is to call on
some person at the last moment, suggest some subject
with which he is vaguely familiar and then await the
painful result. No surer way of losing membership has
ever been devised! I recall, however, a particularly suc-
cessful club which presented good speakers regularly.
For they did as the business and civic clubs do; they
appointed a speakers' committee whose only job was to
locate well informed speakers and book them at regular
intervals well in advance.

RADIO INTO MOVIES
Several clubs across the country have lifted ideas from
well known radio shows to add variety to their programs.
A Double or Nothing show can be put on by using
pennies and asking questions pertaining to amateur
movies. Everyone has fun and it doesn't cost the treasury

Vital club programs don't just happen,

says this able executive,
listing a dozen ideas proved by experience

f-~~,

BEHIND THE SCENES of every club success are many hours of crea-
tive and careful planning. The helpful programs don't just happen.

EQUIPMENT NIGHTS, displaying member-owned or dealer-loaned
cameras, projectors, accessories, are interesting and educational.

iW^Pi

w£~t '* ^jfet^^HE^I

•Sv^- , v'i mi l*iiMwi»rMa' *"" r j^ifl

v. m

PREPARE PROJECTORS well before meeting time, advises the author,
for smooth presentation. Eights show first on any mixed program.

too much! A variation is the Dr. IQ type of quiz. One
group has been successful with the Truth or Consequences
idea. In the "Truth" part various members are assigned
the filming of a number of difficult and unusual movie
shots. If they cannot deliver them at the next meeting,
they then have to pay the "Consequences" — such as a
five minute talk on Projection or some other subject.
One of the most successful stunts I have ever seen at a
club is the Treasure Hunt idea. Several groups or indi-
viduals are assigned a list of movie shots to bring to
the next meeting. These are purposely quite difficult and
each scene is allotted points in [Continued on page 71]

News of
the Industry

Up to the minute reports
on new products and
services in the movie field

Kodak publications c°Pies of the

booklet, Stor-
age and Care of Kodak Color Films,
which is punched for insertion in the
Kodak Photographic Notebook, may be
obtained by writing Sales Service Divis-
ion, Eastman Kodak Company, Roches-
ter 4, N. Y. . . . Wintertime Picture
Taking, a sixteen page booklet punched
for insertion in the basic Notebook, is
available at twenty five cents from Ko-
dak dealers .... The Kodak Photo-
graphic Notebook itself has been re-
styled and reduced in price. The new
version, which features the same binding
mechanism as the old edition, has a
morocco-grained, flexible fibre cover
and is priced at $1.25.

Adaptation Cine - Kodak Special
owners who wish to
increase film chamber capacity to 400
feet can have their problem solved by
Par Products Corporation. The adapta-
tion features a light trap which opens
automatically when the film chamber
door is closed, easy operation in re-
verse for backwinding and a footage
counter. Installation of the Par 400
foot magazine does not prevent normal
use of the 100 foot size, and the 400
foot magazine can be removed quickly
and easily with the loss of only eighteen
inches of film. Another advantage is
that the Par 400 footer can be used with
the Par offset reflex finder magnifier.

A motor drive is attached to the cam-
era by means of a special base which
makes possible removing the film cham-
ber without removing the motor drive.
The drive, however, is easily removable

A 400 FOOT magazine adaptation job has
been done on the Cine Special by Par Products
Corporation. Magazine may be removed and
does not alter normal Cine Special usage.

to allow use of the spring drive if de-
sired. A synchronous motor operates the
camera at twenty four frames per sec-
ond. Special motors can be installed on
request.

For complete information and prices,
write to PaT Products Corporation, 926
North Citrus Avenue, Hollywood 38,
Calif.

Agfa cameras The first postwar

products of the
Agfa Camerawerk, Munich, Germany
(U.S. Zone), have recently reached the
American market. The cameras are the
Ventura, a $35.00 folding camera with
a coated 85mm. //4.5 anastigmat Agnar
lens; the Ventura DeLuxe, a $49.95
folding camera with a coated 85mm.
//4.5 anastigmat Apotar lens, and the
Karomat 36, a bellows-type miniature
camera with a coated Schneider Xenon
50mm. //2 lens, which will sell for
$179.50. The Ventura and the Ventura
DeLuxe take 21/4 inch square negatives
on No. 120 roll film, while the Karomat
36 takes 35mm. film.

The Karomat 36 features a film trans-
port lever operating at a frame per
second, in place of the conventional
winding knob. It is fitted with a syn-
chronized compur shutter with speeds
ranging from bulb through 1/500 of a
second. It also incorporates a locking
device for time exposures and a coupled
rangefinder.

Projection lens Designed for the
advanced projec-
tionist, a six element anastigmat //1.6
projection lens has been developed by
Bausch & Lomb Optical Company, Ro-
chester 2. N. Y. The 2 inch lens — known
as the Super Cinephor 16 — has a sealed,
one piece mount that fits all sound pro-
jectors with the standard 1-3/16 inch
barrel. All lens surfaces are coated for
maximum light transmission and clarity
of image.

Table tripod Testrite's table top
tripod No. 95C has
both a C panhead and a rising and
lowering elevator. Tripod legs are ad-
justable and have stops to prevent over-
spreading. The tripod's full height, ex-
tended, is 24 inches, while it measures
12 inches closed. Priced at $14.45 plus
tax, the 95C tripod is manufactured by
Testrite Instrument Company, 57 East
11th Street, New York 3, N. Y.

GlaSCreen Glascreen, a recently
developed screening of
woven Fiberglass, has entered the ama-
teur field after many installations in
regular theatres. Made entirely of Fi-
berglas and completely washable, Gla-
screen will not stretch, shrink, rot, burn
or discolor. It is said to have greater
brilliance than other non-directional
screens, as well as sharper reproduc-
tion and improved rendition of color. It
is not suitable for the roll type of screen

'• * \"*

THE KAROMAT 36 is one of three still cameras
now being exported by the Agfa Camerawerk,
Munich. Service on the cameras is guaranteed
in the principal United States cities.

but must be stretched in a frame in the
same manner as a regular theatre screen.
Full details on the product may be had
from the NuScreen Corporation, 1501
Broadway, New York 18, N.Y.

Percy honored Charles H. Percy,
president of Bell &
Howell Company, has been selected
by the United States Junior Chamber
of Commerce as one of the Ten Out-
standing Young Men of the Nation
during 1949. The award is presented
annually to ten men between the ages
of twenty one and thirty six who
have won outstanding success in their
fields and have advanced the welfare
of the people on a national level.

Vaporate dissolved As a result

of a consent
decree in recent suits involving Peer-
less Film Processing Corporation and
the Vaporate Company, Inc., the own-
ers of Peerless turn over their half in-
terest in Vaporate to Lucile H. Fleck;
she will become president of Vacuum-
ate Corporation and will dissolve the
Vaporate Company, which has been
sales agent for Vacuumate. The Vac-
uumate Corporation's headquarters will
continue at 446 West 43rd Street, New
York City.

GE meter An improved General
Electric exposure meter,
the DW-68, features a sturdier instru-
ment mechanism and a restyled calcu-
lator dial for greater legibility and ease
of operation. The new version, designed
to measure both reflected and incident
light, supersedes earlier models of the
DW-58. It offers three ranges of light
sensitivity — bright, medium or dim —
and is priced at $19.95, including tax.

Diaversal paper A new method

of making mon-
ochrome prints from all types of color
transparencies — including 8mm. and
16mm. movie frames — has been an-
nounced by the Gevaert Company of
America, Inc., 425 West 55th Street,
New York City. Gevaert's Diaversal pa-
per produces sepia prints by contact or
enlarging methods without creating a
separate negative, without lengthy pro-

MOVIE MAKERS

cessing and with the use of only three
solutions. Here is how Diaversal paper
works :

The paper (after the transparency
has been projected on it) is first placed
in a paper developer of the regular
type, and a temporary negative image
appears. A special solution into which
the paper is then introduced causes the
image to transfer to another layer on
the paper base, at the same time causing
the negative image to disintegrate par-
tially. The paper is held under running
water, and the negative image washes
away, leaving a faint positive image on
the paper. Finally, immersion in a con-
ventional sepia toner produces a full
strength print with all the gradations
of the original color subject. The grad-
ations are made possible by the semi-
transparent quality of the sepia image.

Diaversal paper, by eliminating the
usual negative and print processing
steps, makes frame and slide enlarging
an easy one-step process. The paper
and its chemicals will be available in
kits, with replacement units in all pop-
ular sizes. Prices have not yet been es-
tablished for either kits or stock units,
but they will be announced with the re-
lease of the material in the near future.

Kodak personnel Kenneth R. Ed-
wards, Eastman
Kodak Company's adviser on non-theat-
rical films, died recently at the age of
54 . . . Thomas J. Craig, manager of
Kodak's entire repair and Cine-Kodak
film processing since 1923, has retired
. . . Charles R. Nelson has been ap-
pointed assistant superintendent of the
film processing department . . . M.
Wren Gabel has been named assistant
to Albert K. Chapman, vicepresident
and general manager . . . William L.
Lake is the new manager of the repair
department . . . and C. Everett Moses
is the new assistant superintendent at
Kodak Park, in charge of color print
and processing services.

ContOX MA Embodying all the es-
sential features of the
prewar Contax II, Zeiss Ikon's Contax
IIA is smaller in all its dimensions
than its predecessor, with a resultant
loss in weight. The new model has
built-in flash synchronization. Its focal
plane shutter has undergone noticeable
changes, while the shutter tensioning
knob is slightly larger and includes a
counter; the larger film winding button
carries an indicator of the type and
speed of film with which the camera
is loaded. A self-timer permits preset-
ting for three, six, nine and twelve
seconds delay.

With a Sonnar 5cm. //2 lens, Con-
tax IIA retails for $385, tax included.
With a Sonnar 5cm. //1.5 lens, the
price is $460, including tax. The lens
mount is of the quick-changing bayonet
type, so that Contax IIA will accept

THE CONTAX IIA differs from Contax II
chiefly in dimensions and weight. Built-in
flash synchronization widens its possibilities.

EYE-LEVEL focusing eliminates parallax in
the Contax-S, manufactured in Germany and
distributed by the Ercona Camera Corporation.

the full line of prewar Sonnar and
Tessar objectives. The camera is dis-
tributed by Carl Zeiss, Inc., 485 Fifth
Avenue, New York City.

The Contax IIA is manufactured by
Zeiss Ikon A.G. in Stuttgart, Germany,
in the U.S. zone of occupation. Accord-
ing to the distributor of the camera,
stockholder action transferred the legal
seat of the Zeiss Ikon Company from
Dresden to Stuttgart, after Dresden be-
came part of the Russian zone of occu-
pation.

Enteco line ^ew designs in movie
lens hoods and adap-
ters that accommodate either the new
Series IV or 21.5mm. filters have been
introduced by Enteco Industries, 610
Kosciusko Street, Brooklyn 21, N. Y.
The adapters are machined of tempered
Duraluminum for hardness and light
weight. All are supplied with insert
rings to hold filters in position when a
lens hood is not used. Full information
may be had by writing the manufac-
turer.

ContdX-S A radically new viewing
and focusing system for a
miniature-type camera is the leading
feature of the Contax-S, a 35mm. cam-
era being marketed under the Zeiss
Ikon designation by Ercona Camera
Corporation, 527 Fifth Avenue, New
York City. A single reflex focusing
viewer — the Prisma - Scope — eliminates
the familiar split image, coupled range-
finder and the usual problems of paral-
lax.

The Contax-S also presents built-in
flash synchronization and a focal plane

shutter with speeds from 1 to 1/1000 of
a second. Standard lens equipment for
the camera is the coated Zeiss Biotar
T/2, with stops down to T/22 and in a
universal "C" mount. The camera is
priced at $475, tax included.

The Contax-S is produced in the
original Zeiss Ikon camera works in
Dresden, Germany, which is in the
Russian zone of occupation. After Rus-
sian occupation the works were nation-
alized; it is the nationalized plant —
Mechanik Association of Industries
Owned by the People — that is manufac-
turing the Contax-S.

Evn-pan tripod Director Prod-
ucts Corpora-
tion, 2 West 46th Street, New York
City, announces the Evn-pan tripod, 5
pounds in weight and capable of sup-
porting up to 200 pounds. A quarter
turn of the tripod's handle will lock
or unlock the pan-tilt head. It retails
for $19.75.

Test film A new test film for check-
ing and adjusting 16mm.
motion picture sound reproducing equip-
ment has been announced by the Mo-
tion Picture Research Council, Inc. The
film, which runs approximately 2 0 0
feet, contains picture and sound selec-
tions for testing system frequency re-
sponse and high and low frequency bal-
ance, acoustical properties of the room,
amplifier and speaker output, power
handling capacity and flutter or wow.
An instruction sheet accompanies the
film, which is available from the Motion
Picture Research Council, 1421 North
Western Avenue, Hollywood, Calif., or
from the Society of Motion Picture and
Television Engineers, 342 Madison Av-
enue, New York 17, N. Y.

Projex lens Auxiliary wide angle
attachments for both
8mm. and 16mm. projectors are now be-
ing marketed as members of the Spira-
tone line of lenses. Projex Jr., for 8mm.
projectors, doubles the projected screen
area and sells for $9.95. Projex Sr., for
16mm. projectors, quadruples the pic-
ture size and sells for $12.95. Projex
lens attachments may be had from
Spiratone, 32-34 Steinway Street, Long
Island City 3, N. Y. All orders should
specify projector make and model.

FotO-Rllle A device for eliminating
out of focus or cut off pic-
tures when taking closeups with a
supplementary lens is announced by
Foto-Rule Company. Foto-Rule consists
of a six foot steel measuring tape in a
chrome steel case, which screws into
the tripod recess of both still and cine
cameras and then fastens to the tripod
top. A comprehensive dial on one side
of the rule case gives camera settings
and object distances for the usual sup-
plementary lenses. The rule itself is

FEBRUARY 1950

THE TRI-LITE

(Pat. Pend.)

IT'S NEW. IT'S DIFFERENT

FOR THOSE INDOOR PICTURES

A light at 3 points around the camera lens,
which makes for sharper pictures. Eliminates
shadows so ideal for color film. Fits all
cameras. Handle fits on tripod. Off and on
switch. 15 feet of cord.

Shipped postpaid on receipt of $3.95, check
or money order.

Try it 10 days, if not satisfied return it and
get your money back. Lights not included.

WALTER WILLIAMS MFG. CO.

15237 Promenade

Detroit 24, Mich.

Two 3 <* stamps for giant catalogue. State size.

8-16mm Silent, Sound,
Sales, Rental, Exchanges.

REED & REED DISTRIBUTORS, INC
7508 3rd AVE., BROOKLYN 9, H. Y.

2'/4 x 3'/4 COLOR PRINTS 50c each

Price of larger prints on request

From 8 and 16mm Color Film

Send 3 frames or tie thread next to frame

desired. Add 25c handling charge on

orders of less than $5.00. No C.O.D.'s.

HOUSE OF COLOR

1108 Seal Way Seal Beach, Calif.

Make a perfect dissolve every time
with your Cine Special!

us Tax

Automatic Attachment $48.00 pl

lACEDU V/M f\ 5968 Santa Monica Blvd.
JUSErn I WLU Hollywood, California

HOME
MOVIES

DESIGNED
TO DELIGHT!

HELENE DIST. CO.

182 Peoce St. Prov.,

The
Verylatest

New 100 ft. re-
leases 16mm $6.00,
available in sound;
8mm $5.50.

FREE LIST
ON REQUEST

employed when the correct distance has
been determined. After the camera is
ready to shoot, the blade is pushed
aside.

Retail price of Foto-Rule is $3.00.
Full information may be had from Fo-
to-Rule Company, 509 South Myrtle
Avenue, Monrovia, Calif.

Clingtite letters Sets of flexible

titling letters that
will adhere to glass, tile, marble and
other non-porous surfaces on contact
are being produced in one inch sizes,
colored red, by Clingtite Products Com-
pany, 7 South Dearborn Street, Chicago
3, 111. Each set, consisting of over 150
capital letters, numbers and symbols,
sells for $3.45. Other sizes and colors
are planned for future release.

Kodak release Gadget-conscious
workers in the still
field will enjoy Kodak's auto release, a
handy item that operates with a cable
release and trips the shutter automat-
ically after a predetermined length of
time. Varied periods of delay up to ap-
proximately ten seconds can be achieved.
The Kodak auto release is priced at
$4.25, including tax.

Fades to order Fades for both

8mm. and 16mm.
film have been added to the Movie-Trix
line of effects — all of which are super-
imposed in strips on previously pro-
cessed film to give the illusion of actual
camera effects. The new fades will re-
tail for $1.50 a dozen in the 16mm.
size, $1.25 in 8mm. Other effects in the
Movie-Trix line include circle in or out,
clock, sweep, whirlpool, sawtooth, fan
and straight wipes. A circular describ-
ing the entire line is available upon
request from Moviecraft Company, 1623
Unionport Road. New York 60, N. Y.

Projection pointers

[Continued from page 54]

ping of 8mm. and 16mm. images (cam-
era to projector) as is effected on the
35mm. image. In other words, the pro-
jector aperture in either substandard
system is purposely made slightly
smaller than its corresponding camera
aperture — thus taking the first step to-
ward clean frame edges on the screen.
Since this fact, I have found, is not
widely known among amateur filmers,
you may be interested in the exact
figures.

With 8mm. equipment, according to
American Standards Association data,
the camera aperture has a width of
4.8mm. and a height of 3.51mm., thus
recording an image of this size on your
film. On the projector, however, the
aperture is scaled at 4.37mm. in width
and 3.28mm. in height. The cropping
of the camera image thus effected will

be .21mm. from each edge of the width.
.11mm. from top and bottom of the
height.

On 16mm. equipment, the compara-
tive figures are as follows: camera
aperture — width, 10.41mm., height,
7.47mm.; projector aperture — width,
9.65mm., height, 7.21mm.; cropping —
.38mm. from each side of width, .13mm.
from top and bottom of height.

In other words, then, the entire pic-
ture area recorded on your film never
will get past the projector aperture
and on to the waiting screen. However,
small though this loss is, even it is
compensated for in the optics of all
well designed camera viewfinders. Thus,
this part of the cropping operation
you need not take into account in your
filming. The second part however — the
further cropping which you are going
to effect with your black bordered
screen — is not contemplated in the de-
sign of substandard cameras. It is rec-
ommended, therefore, that you back up
a few inches on each camera position
if you plan to put it in effect.

You do plan to? Well, then, let's
see about the specifications. To begin
with, no screen should have black bor-
ders less than three inches in width;
proportionately larger screens naturally
would have still wider borders. These
border outlines should have rounded
corners, just as your projector aperture
has rounded corners. The top and bot-
tom borders can be wider than the
sides, if it is preferred. Finally, no
white part of the screen, except the
field for the picture proper, should be
seen by the audience.

Go now to a reliable paint store and
purchase a small can of flat black
paint. This paint, after stirring, should
be thick and creamy in consistency. I
can recommend the flat black paint
made by The Pittsburgh Paint & Glass
Company for this job. I have done two
screens with this paint and find it is
excellent. Do not thin the paint with any-
thing. It should remain thick and
creamlike. You will need a fine brush
for painting a sharp line and a wider
brush for filling in later.

Now spread some old newspapers on
a hard floor and stretch your screen
out on these papers, face up. With a
straight yardstick carefully center the
white portion of the screen. Soft-lead
pencil lines, carefully drawn, will serve
as guide lines for your small paint
brush. A tin can or other round ob-
ject of suitable size can serve to trace
the four rounded corners. Don't use
Scotch masking tape with a beaded
screen. It is too risky.

Once you have got your lines drawn
you cannot erase them, so be very care-
ful with your layout operations. Then,
with the small brush, carefully apply
the paint so that it just barely over-
laps the pencil lines. Following this,
the larger brush is used to fill in the

MOVIE MAKERS

wide open spaces. While working, it is
a good idea to cover the white field
with cardboard or paper to prevent any
unwanted spots. Paint will splash.

You now have at your command a
projection screen of truly professional
design. When you combine the auto-
matic cropping of the film image per-
formed by your projector's aperture
with the intended cropping of your
black bordered screen, you will be de-
lighted with the clean, sharp edges now
evident on your pictures. Here, indeed,
is a good beginning. Let's see what
other tips toward polished projection
we can glean from the professional.

Well, another important point is the
matter of screen angle. Often, under
adverse conditions, it becomes neces-
sary to place the screen high and the
projector low. This automatically pro-
duces some picture distortion, or "key-
stoning." Many of you will be familiar
with the weird distortions which we
purposely create in our still picture
darkroom merely by tilting the en-
larger easel out of parallel with the
negative in the carrier. Does it not
stand to reason, then, that if our
movie screen (the enlarging easel) is
not approximately parallel to the film
in the projector (the negative) we are
certainly producing distortion?

The solution is to try and tilt the
screen back into parallel with the pro-
jected film. My stand, which I made
myself, incorporates an adjustment
feature to handle these odd setups.
With a little ingenuity and a sincere
desire to excel, you too can devise
something that will fill this bill.

Ready for some more though per-
haps minor aids to effective projection?
One of the simplest ways, it has seemed
to me. to keep dirt out of the projector
gate is to remove it from the film be-
fore it arrives there. For that purpose
I have positioned a piece of extra-soft
velvet just below the feed reel, so
that it presses lightly on both sides of
the film as it travels downward to the
gate. This simple cleaning pad. which
is detachable for renewal, is held in
place with a bicycle spring clip.

Did you ever get tangled up in your
own extension cord? Usually it's the
long one running to the loudspeaker
of the sound projector or the double
turntable; besides tending to be
twisty, it's often difficult to pack in a
limited space. I licked this nuisance
by obtaining a 1000 foot 35mm. projec-
tion reel and winding the cable on it.
But — and here's the real secret of the
system — the middle point of the cable
is fastened around the hub of the reel.
With such an arrangement, two strands
of the cable (both front and rear ends)
are being wound or unwound at the
same time. This means faster handling,
less twisting and that the entire length
of cable need not be unwound unless
needed.

A PROFITABLE
INVESTMENT
-if you make
or exhibit
8 or 16 mm
films . . .

The

mswoa

JUNIOR
SPLICER

• You save its cost in no time by doing your own splicing.

• You avoid damage to your films because the GRIS-
WOLD Junior has special features that assure perfect
film alignment and uniform spacing of perforations on
every splice. This prevents torn perforations and film
breaks.

• You get a sturdy, all-metal, precision instrument that's
easy to use and good for a lifetime.

9 Only $15 at your Photo Supply Dealer. If he doesn't
have it, order from our National Distributor —

NEUMADE PRODUCTS, 330 West 42nd St., N. Y. 18, N. Y.

GRISWOLD MACHINE WORKS

DEPT. A, 410 MAIN STREET, PORT JEFFERSON, N. Y.

fcvM^!IpIL'': MB

FLOOR UNITS

FLOOR UNITS— Many models—
any size — any capacity for effi-
cient film filing. Each reel held
erect in its place by curved, rigid
steel rods. Individual index cards.
All steel construction. End up-
rights of sturdy steel angles closed
with sheet steel. Baked-on enamel
finish is olive-gray.

SEPARATE LENGTHS

SEPARATE LENGTHS— Ideal f or
your own cabinet, showcase, book-
case, table, closet, etc. Same as
used in floor units. Supplied in
any desired length complete with
drilled end mounting brackets
ready for use.

NEUMADE— the most complete line of 16mm. aids:
Reels, Film Cabinets, Splicers, Tables, Cans, Cleaners, etc.

<Mui4rijad&

PRODUCTS CORP.

330 W. 4 2 ST. NEW YORK 1 8, N. Y.

FEBRUARY 1950

PARICUTIN!

During the First Year

16 minutes silent screen time

Released Dec. 20, 7949

ENTIRELY NEW. Never before offered to the
public. An absolutely authentic factual film, no
faked or posed shots, beautifully photographed in
16mm. Kodachrome.

Six different visits within first year, starting when
only eight days old. Packed with action, red-hot
lava, night explosions, ruined village, etc.
Originally, film was edited to 1400 feet from which
Metro- Goldwyn-Mayer recently released their short
subject "Miracle in a Cornfield." Now further cut
to include only the most spectacular shots. Study
Guide included. A collector's item. Satisfaction
guaranteed.
For complete description and price write to

Ralph E. Gray, FACL
Apartado 2747 Mexico, D. F.

ACL MEMBERS: The ACL has on hand a
limited number of 8mm. black and white
ACL leaders. Normally priced at 50</, they
are available at 35<f each as long as the
supply lasts. Send orders and remittances
to the Amateur Cinema League, 420 Lex-
ington Avenue, New York 17, N. Y.

THE 1950 PASADENA

"ROSE PARADE"

200 ft. 16mm. Kodachrome $30.00

"Boulder Dam", 120 ft $18.00

100 ft. "Arches Nat'l Monument" (Utah) 15.00

200 ft. "Arches Nat'l Monument" (Utah) 30.00

GUY D. HASELTON
7936 Santa Monica Blvd., Hollywood 46, Calif.

MOVIE AND SLIDE TITLES

STILL AT SAME LOW PRICESI
Same titles formerly distributed by Bell & Howell
— now sold direct. Large variety backgrounds
available. No charge for tinting film Amber 1
WRITE fOR free illustrated brochure and samples
TITLE-CRAFT, 1022 Argyle St., Chicago 40, III.

Powerful SVz" F-3.5 TELE-LENSES $39.50

COATED. 51/2 inch (138MM) f-3.5 color
corrected U. S. Air Farce Surplus
Lenses in our focusing "C" Mounts. Will
"' Bolex, Victor, B & H, Revere, Key-
stone, etc. 16mm cameras. Perfect
for sports, nature, hunting, etc.
Movies. Limited number avail-
able. Mailed insured complete
with metal dust cap. Guaranteed.

CENTURY PRECISION SPECIALTIES CO.
11960 Wilshire Blvd., Los Angeles 25, Calif.

UNUSUAL MOVIES

"JUDY"

"MAZIE"

"OLGA"

"MIMI"

"LUPE"

8mm 50 Ft.. $2.75

16mm 100 Ft. $6.00

16mm 100 Ft.

Sound $8.75

"UNA"

"ZARA"

"SALOME"

"SANDRA"

"VIOLA"

8mm 100 Ft. $5.50

16mm 200 Ft. $11.50

16mm 200 Ft.

Sound $14.75

SEND FOR FREE CATALOGUE

"Creation of Life"— con

. 8MM $ 7.50
ea- 16MM $14.75

CAMERA SHOP

760 BROAD STREET - PROVIDENCE 7, R. I.

LATE RELEASES

Features and short subjects for 8mm. and 16mm. screens

York 19, N. Y. Ham Fisher's famed
cartoon comes to life with Joe Kirk-
wood as Joe Palooka, Leon Errol as
Knobby Walsh and Elyse Knox as
Anne Howe. For the few who may not
follow Joe Palooka's eventful life,
Knobby Walsh is Joe's manager, while
Miss Howe provides the idealized love
interest.

■ High Flyers, one reel, black and
white, is distributed in all standard
8mm. and 16mm. sizes by Castle Films,
division of United World Films, Inc.
It is available from photographic deal-
ers. Abbott and Costello find them-
selves taken skyward in a runaway
airplane. The situation is obviously a
natural one for the boys and for their
devoted followers. Eventually the pair
come back to earth, but not before
showing a good sample of their talents.

• Leather Burners, seven reels, 16mm.
sound on film, black and white, is
distributed by Commonwealth Pictures
Corporation, 723 Seventh Avenue, New
York 19, N. Y. William Boyd as
Hopalong Cassidy is once more hot on
the trail of desperate cattle rustlers.
There's plenty of action for new fans
and plenty of fresh adventure for the
admirers of long standing.

■ Paricutin, running time sixteen min-
utes, Kodachrome, may be obtained in
a 16mm. silent version from Ralph E.
Gray, FACL, Apartado 2747, Mexico,
D. F. The famed volcano explodes,
smokes, pours lava and generally be-
haves in a very active manner in ex-
clusive Kodachrome footage shot dur-
ing the first year of its life. This foot-
tage is the cream of 1400 feet from
which Metro-Goldwyn-Mayer recently
put together a theatrical short subject,
Miracle in a Cornfield.

B Joe Palooka, Champ, eight reels,
16mm. sound on film, black and white,
may be had from Post Pictures Cor-
poration. 115 West 45th Street, New

B Circus Day in Our Town, one and a
half reels, black and white, 16mm.
sound on film, may be purchased from
Encyclopaedia Britannica Films, Wil-
mette, 111., or rented from any EBF
library outlet. The spectator is carried
through the entire day of a traveling
circus from the before-dawn unloading
of the circus train to the final bows
of the performers. It was made as a
classroom film for the primary grades,
with Beverley Kelley and Don Lang of
Cole Brothers Circus as consultants.

■ Basketball Thrills of 1949, one reel,
black and white, is available in both
8mm. and 16mm. sizes from Official
Films, Inc., 25 West 45th Street, New
York 19, N. Y. Highlights from out-
standing basketball games played dur-
ing 1949 in New York's Madison
Square Garden include the NCAA finals
between Kentucky and Illinois and the
San Francisco-Loyola game for the Na-
tional Invitation Championship. Also
included is the meeting between N.Y.U.
and Notre Dame.

■ The Devil Fights Back!, running
time forty minutes, black and white,
16mm. sound on film, may be purchased
from Africa Films, The White Fathers
of Africa, Franklin, Pa., or rented
from Africa Films, Bureau of Com-
munications Research, Inc., 13 East
37th Street, New York 16, N.'Y. Set in
the mountains of Ruanda in the heart
of Africa, The Devil Fights Back! tells
the story of Mutana, an influential
pagan chief who has two wives. The
chief decides to become a Christian —
and the Devil fights back.

MOVIE MAKERS

Planning
makes programs

[Continued from page 65]

proportion to the photographic achieve-
ment of obtaining it. The group or
person scoring the most points wins
the treasure. Needless to say, these
ideas are not only entertaining but
carry much educational value.

MAGAZINE ROUND TABLE

One Midwestern group discovered
an interesting program feature quite by
accident! While waiting for a speaker
who had been delayed, the membership
began a round table discussion of
various magazines and publications
pertaining to amateur movies. The dis-
cussion became so interesting and
brought forth so many ideas that a
transcript was made of the highlights
of the session and sent to the various
publications discussed. Magazine Night
has now become an annual program
for this group, giving its members a
better appreciation of the magazines
devoted to their hobby.

AUCTIONS AND EXHIBITS

Every movie maker sooner or later
accumulates an assortment of gadgets
and surplus equipment which he wishes
to dispose of — either by trading or
outright sale. Many clubs have built
successful programs around Auction
Night, Old Tradin' Post or just down-
right Swap Night. These may be
handled in a variety of ways, but the
results are usually very gratifying to
the participants. The service of a pro-
fessional auctioneer often adds zest to
the program. In some instances the
club treasury comes in for a percentage
of the sales to assist on other activities.
The best way to get started, by the
way, is to let the owner of each item
make the first bid, thereby indicating
his minimum price.

A simpler variant of the Gadget
Night program is the display and dis-
cussion of these homemade items. The
idea can even be enlarged up to a
regular Equipment Night gathering,
where all members bring their cam-
eras and associated equipment for in-
spection, discussion and analysis. It
will be found that a large percentage
of movie club members are not thor-
oughly familiar with all the features
of modern cine equipment. Thus, such
a program often proves of genuine aid
to those who are doubtful as to which
equipment they prefer. Local camera
dealers and even national manufac-
turers are often able to cooperate in
these displays.

MORE MEMBERS' FILMS
One of the chief complaints I have
heard from other clubs is that the

MOVIE-MITE was the
FIRST precision built,
extra light weight, com-
pact 16mm projector to
be put on the market at
a notably low price.

MOVIE-MITE estab-
lished new standards . .
and leads in the pro-
duction of an amazing
combination of quality
and economy.

All the advantages of finest 16mm
projection (silent or sound) are made
available at LOW COST.

cycl«
105-120 volt

operation.

/Sh

Write tor

details. See your
demonstration.

dealer tor

Model 63LMB

$198

■n

100 ft. rolls Kodak
16mm BLACK & WHITE FILM

69c per roll

This film is fresh dated, fine grain positive
stock. Unsurpassed for Titling, Reprints,
Testing and even Leader Stock. Packed in
Eastman Kodak Factory sealed boxes and
unconditionally guaranteed.

Limit: 3 rolls per order

Offer expires April 1st, 1950

We make this amazing offer to acquaint you
with a new source o± supply saving you up to

30%

• 8mm & 16mm Kodachrome

• Cameras, Projectors

• Screens, Exposure Meters

• And all equipment necessary for better
home movies.

All orders filled same day received

UPTOWN PHOTO SUPPLY

"Movie Makers Headquarters"
"Member of the WSAC"

1369 Irving St. N. W.
Washington 10, D. C.

The Complete 16mm Camera
For Professionals and the
Professionally-Minded Amateur

\._

Featuring the Exclusive \|
full frame follow Focus J

You sight directly through

the lens in use while it is

in use. You can follow

focus. You see when the

subject moves out of the depth of field. You

can achieve perfect composition... from titles

to landscapes you know the exact limits of

your field. Now no more out-of-focus pictures,

no more chopped heads... no necessity for

parallax correction because there is no parallax.

Write For Free Literature Completely
Describing the Pathe Super "16"

DIRECTOR PRODUCTS CORP.

521 Fifth Avenue, New York 17, N.Y.

Classified advertising

10 Cents a Word Minimum Charge $2

■ Words in capitals, except first word and name,
5 cents extra.

EQUIPMENT FOR SALE

I BASS SAYS: If you would buy, or sell or trade,
A Bass deal is the best that's made. — CHARLES
BASS, President. 8mm. Movikon K, Sonnar //2, foe.
mt., case, $95,00; Bolex H-8, Cooke f/2.5 fixed focus
with lap dissolve, 1%" Berthiot //3.5, 3" Berthiot
//3.5, case, $245.00; Factory new 200 ft. Magazines
for Cine Special, black, S275.00; 16mm. B. & H. 70D,
20mm. f/2.9 coated, 1" Plasmat f/1.5 wide angle, 2"
Cooke //3.5, case, $235.00; Bolex H-16, Plasmat f/1.5
\" fixed focus and wide angle attachment, 3" Trioplan
//2.8 coated, comb, case, §245.00; 16mm. Zeiss Movi-
kon, Sonnar f/1.4, $325.00. We buy 'em, sell 'em, and
trade 'em. Complete stocks of new Cine Equipment, all
makes. BASS CAMERA COMPANY, Dept. CC, 179
W. Madison St., Chicago 2, 111.

■ GUARANTEED fresh F-A-S-T Pan Film, $1.65;
25' (8-8mm.), $1.65; 25' 8mm. color, $4.10; 25'
8mm. color base, $2.25; 100' 16mm. outdoor film
(anti-halo), $3.45. Free machine processing. MK
PHOTO, 451 Continental, Detroit (14), Mich.

■ MAKE TITLES for MOVIES and SLIDES EASILY!
Over 150 reusable, one inch pliable letters, numbers
and symbols. Adheres on contact to non-porous sur-
faces, glass, etc. No special apparatus necessary. Com-
plete $3.45. CLINGTITE PRODUCTS COMPANY,
Dept. L, 7 S. Dearborn St., Chicago 3, 111.

I THE new Auricon "Cine-Voice" sound camera for
advanced amateurs and professionals. See it here; 100'
capacity, complete with amplifier, mike, batteries,
and carrying case. $695.00. Bolex H-16 with 1" //1.5
lens and carrying case, like new, $249.00. Kodak
Model K with 1" //1.9 lens and case in excellent
condition, $95.00. Colortran converters to boost ordi-
nary 150 watt bulbs to more than 750 watts each on
ordinary house current, $27.50. THE CAMERA MART,
Inc.. 70 West 45th St., New York.

| CINE LENSES — High speed, wide angle, telephoto.
For those sparkling outdoor and indoor winter pic-
tures. COATED FOR 8MM CAMERAS; 9mm. //2.5
Wollensak wide angle universal focus, $43.75; %"
//1.9 Berthiot Cinor (focusing mount), $39.50; 1%"
//3.5 telephoto anastigmat (3 time magnification) (in
focusing mount). $36.50. IN FOCUSING MOUNTS
COATED FOR 16MM CAMERAS: 17mm. //2.7 Carl
Meyer wide angle, $49.50; 1" //1.9 Wollensak Raptar,
$58.09; 2" f/2 Schneider Xenon, $99.50; 3" //2.8
Carl Zeiss Tessar, $109.50; 6" //5.5 Schneider Tele
Xenar, $124.50. These are only a few of our tremen
dous selection — the world's largest stock of lenses — we
have what you want — 15 day trial — satisfaction guar-
anteed— send this ad in for free catalog and lens list
BURKE & JAMES, Inc., 321 So. Wabash Ave., Chi
cago. 111., U.S.A. Att: M. A. Milford.

■ SYNCHRONOUS motors furnished and installed
on cameras, projectors and recorders. Synchronous
projectors for rent. Estimates furnished if desired.
M. W. PALMER, 468 Riverside Drive, New York 27,
N. Y.

EQUIPMENT WANTED

| WE BUY, sell and swap all photographic equip-
ment and all 8mm. and 16mm. films. We pay hard
cash for same. Write and advise us what you have.
CAMERA SHOP. 760 Broad St.. Providence 7, R. I.

FILMS WANTED

H WANTED: Religious sound feature pictures, pref-
erably "Crown of Thorns": purchase outright, must
be reasonable. PETER FORTUNATO, 222-12— 110th
Ave., Queens Village, N. Y. HOllis 4-4826.

FILMS FOR EXCHANGE

| EXCHANGE or buy used movie films. Mention
your MM. Write GALLARD'S EXCHANGE CLUB,
29 Coe Ave., Hillside 5, N. J.

FILMS FOR RENTAL OR SALE

■ USED and New Castle film9. 8-16, silent and
sound. Send for lists. ALVES PHOTO SERVICE,
Inc., 14 Storrs Ave., Braintree 84, Mass.

■ CLEARANCE: Kodachrome Travel Shorts, 100'
16mm. silent. $11.00 each. Write for list. WURTELE
FILM PRODUCTIONS, Box 504, Orlando. Florida.

| CASTLE Films for sale; 8mm. -16mm. silent and
sound; complete stock, orders shipped day received
by STANLEY-WINTHROP'S, Inc., 90 Washington
St., Quincy 69, Mass.

| 400 FT. 16mm. silent subjects, all good condition.
Castle, Official, etc., $4.50 each; 3 for $13.00. Sound
subjects, $7.50 to $9.00; guaranteed perfect. 8mm.
subjects, 200 ft., perfect, $2.50; include postage;
specify list wanted. ABBE, 503 Fifth Ave., N. Y. 17.

| UNUSUAL industrial and educational film sources,
many hard to find subjects. All films rented without
charge. New list, $1.00. INTERNATIONAL CINE
SOCIETY, 126 Lexington Ave., Dept. R, New. York
16, N. Y.

■ CLEARANCE Sale: 200 ft. 8mm. subjects, $2.50;
400 ft. 16mm., $4.00. Cartoons, News, Sports, etc.,
like new. Send check or money order. SAMSON'S,
Pine & Portland Sts., Providence 7, Rhode Island.

■ UNUSUAL films: 8mm. 50 ft., $2.75; 16mm. 100
ft., $6.00; 10 color slides, $2.50. Send for free list.
SHAWMUT PRODUCTIONS, P. O. Box 132, Elm-
wood Station. Providence 7, R. I.

■ FILMS GALORE— 50 ft. 8mm., $2.75; 100 ft.
16mm., $6.00, with sound, $8.75. "Creation of Life,"
com. ed., 8mm., $7.50; 16mm., $14.75. Write for free
catalogue to CAMERA SHOP, 760 Broad St., Provi-
dence, R. I.

| 12 — 100' 16mm. USED "Soundies" musicals
(assorted), $9.95 plus postage. Others, 12 for $13.95;
12 for $15.95. Big list titles and other 16mm. bar-
gains. BLACKHAWK FILMS, Department MM, Dav-
enport, Iowa.

MISCELLANEOUS

■ KODACHROME DUPLICATES: 8mm., or 16mm.,
11£ per foot. Immediate service on mail orders,
HOLLYWOOD 16MM. INDUSTRIES, Inc., 6060 Hol-
lywood Blvd., Hollywood 28, Calif.

■ SOUND RECORDING at a reasonable cost. High
fidelity 16 or 35. Quality guaranteed. Complete stu-
dio and laboratory services. Color printing and
lacquer coating. ESCAR MOTION PICTURE SERV-
ICE, Inc., 7315 Carnegie Ave., Cleveland 3, Ohio.
Phone: Endicott 2707.

| TWO 4x5 bl. & w. enlargements and negative
from your moviefilm, or one colorprint from color-
film. Send frames and one dollar. CURIOPHOTO,
1187 Jerome Ave., New York 52.

| RIFLES, shotguns, pistols — Firearms of all types,
all makes taken on trade towards ALL photographic
equipment. Highest trade-in allowance at NATIONAL
CAMERA EXCHANGE, 86 So. Sixth St.. Minneapolis
2, Minnesota. Authorized agents for Eastman, Argus,
Revere, Bell & Howell, Keystone, Graflex — in fact
every great name in photography. Trade your fire-
arms on photographic equipment now.

B NO negative? ? ? Send picture or transparency
and $1.00 for new negative and 2 5x7 enlargements.
CURIO-PHOTO. 1187 Jerome Ave., New York 52.

art

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Cancer is curable if discovered early and treated properly

AMERICAN CANCER SOCIETY, INC.

FEBRUARY 1950

members will not bring their personal
films to a meeting for projection. For-
tunately, there are a number of good
incentives which may change this sit-
uation if it hampers your group. One
organization has a system of judging
each roll shown, allowing points for
exposure, composition and the like. At
the end of the year the person having
the highest point score is awarded a
merit trophy. The other group has a
method of giving each personal film
a number; then, at two month inter-
vals, a drawing is held and the lucky
number wins a photographic prize.
Both organizations thus secure more
than enough films to fill the time al-
lotted them on the program. A full
discussion of each picture, covering
such subjects as the camera used, ex-
posure data, filters and so on, always
adds interest.

One of the most successful programs
ever put on by my own club was Old
Timers Night. We spent considerable
time rounding up the oldest known
cinematographer in our city, who re-
lated at the meeting his early experi-
ences in making movies and projected
pictures made in the early 20's. A dis-
play of old equipment was the center
of attention, especially a 1908 Edison
projector! Completing the evening
with a showing of old time movies, the
program broke a two year attendance
record for our group.

After some fifteen very active years
in movie club work, many of them
spent in program preparation, I have
arrived at one undeniable fact — good
programs don't just happen! They are
the result of planning, improvising and
a lot of imagination. If the aforemen-
tioned suggestions have given you
some ideas — start working on them
now. You'll never know how they are
going to click with your members un-
til you've tried them!

Using telephoto lenses

[Continued from page 52]

BETTER BALANCE

A third and much lesser known ca-
pacity of the telephoto lens is its ability
to change the balance between near
and far objects in a distance view. Ob-
serve in Fig. 3, for example, the rela-
tive size of the Jefferson Memorial
temple in the foreground and the
Washington Memorial spire in the back-
ground. These are the results of normal
perspective as rendered by a standard
movie lens.

Should you feel, however, that the
Washington monument is being slighted
in this presentation, a telephoto lens
can magically change the balance be-
tween the two buildings. Fig. 3-A shows
the effect of a 2x lens. With the camera
drawn back slightly, the Jefferson tem-
ple remains the same size in the overall

MOVIE MAKERS

BETTER VIEWPOINTS

FIG. 5: Viewpoints blocked by foreground ob-
jects are common trouble with normal lens.

frame; the Washington spire, however,
has increased in relative stature and
dominance. Even more marked effects
would be achieved with a 3x or 4x ren-
dering. It's all a matter of compressed
perspective.

BETTER PERSPECTIVE

This same quality — perspective — may
create equally amazing results with the
camera working close to the subject.
Filmed with a standard lens (and more
pronouncedly with the wide angle ) , ob-
jects moving directly toward the cam-
era from a closeup position assume a
distorted size wholly out of proportion
to the rest of the subject. Such an ef-
fect is strikingly illustrated in Fig. 4.
Not only are the girl's hands grotesque-
ly enlarged, but her arms as well seem
elongated to match them.

The compressive effect of a telephoto
will correct this. In Fig. 4-A, a 3x lens
has restored normal perspective be-
tween the front and rear elements of
the scene. Note especially that the girl's
head and shoulders remain the same
size in both renderings, with only the
unnatural distortion done away with.

BETTER VIEWPOINT

There are countless occasions in ama-
teur filming where foreground objects
may obstruct the exact view wanted.
And yet, by the physical nature of the
setting, the cameraman cannot change
his viewpoint. You want the one rose in
closeup, not the rosebush in full shot —
but the flowerbed is too big. You want
the tiger without the bars, or the turkey
without the wire — but you cannot move
closer.

The answer is to change your lens,
not your camera position. For the tele-
photo has a rewarding ability to "reach
into" scenes, to slip by the obstruc-
tions and bring back the true closeup
wanted. Figs. 5 and 5-A show a striking
example. In the first scene the standard
lens with its tremendous depth of field
renders the offending wire with distract-
ing sharpness. In the second scene a
telephoto has obliterated the wire as if
by magic. And, mind you. not by shoot-

FIG. 5-A: Telephoto can "reach" around, over,
under or actually through for wanted closeup.

ing through the holes. The viewpoint is
still masked by wire; but the strands
are so close and the depth of field so
shallow that the telephoto simply does
not register a wire image!

OTHER USES

There are still other uses of the tele-
photo lens too numerous to illustrate.
Just as the wide angle lens accelerates
motion coming toward it, a telephoto
seems to decelerate it, or slow it up. So
marked is this effect with the longer
focal lengths that it often may be used
to simulate a receding dolly shot.

There is, too, the almost incredibly
small field sizes rendered by some tele-
photos. For, although their closest focal
setting on the lens barrel may not equal
the 1 foot mark, say, of your standard
lens, their power of magnification nar-
rows the field limits beyond the capacity
of the standard objective. Further,
some long focus lenses may be racked
out even beyond their focusing calibra-
tions, thus cutting the field covered to
as little as % of an inch by l1^ inches!

But these and still others are talents
to look into on your own. If you begin
by using the telephoto as already out-
lined, your films and filming will be
strikingly enriched.

Three-point lighting

[Continued from page 59]

the light beam exactly where you
want it — and nowhere else.

Finally, if you are short on lighting
units, or if you have only a single 15
ampere circuit (on which it is unsafe
to burn four No. 2 lamps), a very
pleasant lighting effect can be main-
tained by foregoing the modeling light.
The other three units are kept as out-
lined— with the effect as seen in Fig. 6.

There are other ways to use lights,
of course. But the arrangements de-
scribed here are basic light positions
for most movie making. They're sim-
ple to set up, and you'll notice that
they work equally well for color or
black and white.

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GOERZ AMERICAN

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the lens smoothly without rotating elements or
shifting image.

This lens comes in C mount for 16 mm cameras.
Fitting to other cameras upon special order.

Sizes available now : 35 and 50 mm uneoaled
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Milwaukee slate Officers of the Amateur Movie
Society of Milwaukee, ACL, for
1950 were installed at a dinner meeting of the club held
the middle of December. Dr. Arthur W. Hankwitz is the
new president, Elmer E. Mohaupt first vicepresident and
Martha Rosche second vicepresident. Mrs. Max Sulewsky,
ACL, became the new treasurer, with Agnes Muehlbach
as secretary.

Top honors in the recently concluded annual club con-
test went to Erma Niedermeyer, ACL, for Hi, Mac, with
second prize going to W. J. Rheingans for Wishing Will
Make It So. DeLylia Mortag took third place with News
and Views. Runners-up were Arthur Koster, ACL, for
Power Farming; Mrs. Mortag, with Chicago Railroad
Fair, and Frank Jaski, ACL, with Cany Me Back to Old
Virginia.

Australian winners Awards in the two premier

amateur film contests Down
Under have recently been announced in Australian club
bulletins. The Five Best films of 1949, as chosen by the
Victorian Amateur Cine Society, ACL, of Melbourne,
were Two Misses Make a Hit, by Charles D. Wicks, ACL;
Spring Comes to England, by Charles L. Greenhill, who
also took the President's Trophy for this film; South

E. Whigam, ACL

GOLDEN GATE CINEMATOGRAPHERS, ACL, in San Francisco, meet for
demonstration of matte box by A. Theo Roth, ACL, right, in second row.

Bernard Gross

The people, plans and programs of

amateur movie groups everywhere

Australian Landscape, by Alfred T. Bartlett; The Chil-
dren's Little Pets, by L. K. Anderson, which also took
top honors in the VACS 8mm. competition ; Make Mine
Movies, by Mr. Bartlett, which won, in addition, the
PJ.P. Award.

Mr. Bartlett's last named film captured top place in
the Gold Cup Competition sponsored by the Australian
Amateur Cine Society, ACL, of Sydney. The film was
700 feet of 16mm. color with sound on disc. Second
place went to M. Knobel for Paradise in Europe, 3600
feet of 16mm. color, with sound on magnetic wire. The
Children s Little Pets, 220 feet of 8mm. color by Mr.
Anderson, took third position.

Belfast plans The Belfast (Northern Ireland) Y.M.C.A.
Cine Society, entering its sixth year,
has completed plans for a club production documenting
activities of the eleven other branches of the Y in the
city. It will be patterned on two earlier successes of the
society, To Keep You Moving, made for the Belfast Edu-
cation Authority, and Royal Visit to Ulster, which has
been widely screened in various parts of the empire.

Schenectady-Albany The January meeting of the

Movie Group of the Schenec-
tady (N.Y.) Photographic Society, ACL, was attended
by members of the Amateur Motion Picture Society of
Albany, ACL. Feature of the evening was the screening
of Caledonian Chronicle, by Esther Cooke, ACL, Honor-
able Mention winner with the Ten Best Films of 1949.
Other films shown were Winter Vacation in Florida, by
Mary Robillato, and Three Hours Away, by Helen C.
Welsh, ACL. The program was under the direction of
Miss Welsh.

L. A. 8's banquet The year's end session of the
Los Angeles 8mm. Club was the
occasion for the annual banquet, at which officers for
1950 were installed and 1949 contest winners were an-
nounced. A. W. Apel is the new president, and Dean
Stocks, formerly treasurer, is vicepresident. Edna Kn owl-
ton became secretary, with William Krause as treasurer.
First prize and the Babb Achievement Trophy went
to Fred Evans, FACL, for Newsreel. Wedding of Mavis
Davis, by Bob Beazell, filled second place. Third prize
and the Horton Vacation Trophy were awarded William
Millar for Death Valley Travelog. The contest was judged
by members of the Valley 8mm. Club.

New Zealand gala

CHARLES H. BENJAMIN, ACL, center, of the Brooklyn Amateur Cine
Club, ACL, shows titling techniques to N. Y. Cine & Camera Club of Deaf.

The recent fifth annual Film
Festival, sponsored by the
Christchurch Movie Club, Inc., ACL, featured the screen-
ing of the year's ten best films, as chosen in five different
competitions. Films projected were Hagley Park, by J. G.
Simpson, and Picton and Nelson, by James A. Stuart,
winners of the Novice Cup; Lazy River, by H. E. Denys,

MOVIE MAKERS

and Orphans' Outing, by L. A. France,
winners of Bailey Cup honors; Jewel
in the Sun, by W. J. Thompson, and
Autumn Time, by Mr. Denys, Robert-
son Trophy award winners; Wayfaring
in Westland, by R. A. Evans, and
Highlight and Shadow, by A. H. Rees,
Monochrome Cup winners; From This
Day Forward, by Mr. Thompson, and
North to Nelson, by Mr. Stuart, win-
ners of the Ian R. Little Challenge Cup
honors. Mr. Thompson's last named
film was also chosen the outstanding
film of the year.

<£jflf-.N»i£j

SAN DIEGO Amateur Movie Club winners in
first contest are William Keller, Robert
Teorey, John Chamblin, ACL, and Mel Thiele.

San Diego installs installation of

officers for
the current year highlighted the first
meeting for 1950 of the Amateur
Movie Club of San Diego. Mel Thiele,
ACL, is the new president, with Bob
Teorey as vicepresident. Betty Neiman
assumed the duties of recording secre-
tary and Bill Keller those of treasurer.
Camille Kennedy. ACL, is correspond-
ing secretary.

Organized just one year ago, the
club has increased its membership
from fifteen to forty five, making it
the largest camera club in San Diego.

South Side meeting The inven-
tor of the
Ashcraft color meter gave a demonstra-
tion of the instrument before a recent
gathering of members of the South
Side Cinema Club, of Chicago. A panel
discussion on the subject of color tem-
perature followed.

At the same session there were pro-
jected Snowy Range Mountains, by
Malcolm and Ranald Guldan, and
Upper Michigan Trails, by Lou Bohlin.
The annual Christmas party closed the
club's calendar year.

Edison tally The concluding ses-
sion of a cumulative
point competition for 1949 was held at
a pre-holiday meeting of the Edison
Camera Club Movie Division, of Chi-
cago. In the 8mm. class, D. A. Dins-
dale took top point honors with Tour-
ing New England 1949; second and
third places went to I. Hibbeler and
C. A. Glaesser. C. A. Bauer, ACL, gar-
nered top honors in the 16mm. group
for Brookfield Zoo. S. Jenkins and F.

Novacek shared second place, and H.
Geiser took third. Mr. Bauer was the
grand winner, with highest total points
for the twelve month period, having
captured first place in every contest
during the year. All of his films were
in black and white, and none was over
400 feet.

Cincinnati auction At a recent

meeting of the
Cincinnati Movie Club, an auction was
held for the purpose of buying, selling
or swapping equipment among mem-
bers. Each person was limited to offer-
ing three items for the auction block.
At the same session movies of the
club's field trips to Ryland and High
Bridge, Ky., were shown. A transcrip-
tion of interviews at the premiere of the
club production, Deed to Happiness,
broadcast over WLW, was played.

D. C. demonstrates Members of
the Wash-
ington (D.C.) Society of Amateur
Cinematographers were privileged to
witness the premier local demonstra-
tion of the new Pathe Super Cine
16mm. camera at a pre-holiday session.
The film featured for the evening was
Minnesota State Fair, 1948 Ten Best
winner by the Minneapolis Cine Club,
ACL. An illustrated lecture on exposure
was delivered by George H. Espy, of
the Weston Electrical Instrument Cor-
poration, of New Jersey, prior to the
screening.

Lummus unit plans Members of
the Lummus
Camera Club, ACL, movie division, of
New York City, have completed plans
for a unit documentary production on
activities of the Lummus Company, re-
finery contractors. Activities will be
divided among working teams of mem-
bers, the first of which began shoot-
ing at the last meeting before the
holidays. D. Flaws, E. Lindheimer and
J. Angehrn are active in the first team.

K. C. winners Clarence W. Simp-
son, ACL, was
awarded the first place trophy in the
annual 16mm. contest sponsored by the
Kansas City (Mo.) Amateur Movie
Makers, ACL, for his Mexican travel
film, Land of Contrast. Second place
was won by Dr. William Goodson, jr.,
ACL, for Down South, a film of New
Orleans, and third prize went to Wil-
lard Hoehn for Trail Seekers. Charles
H. Burns, jr., ACL, and Dr. D. A.
Closson, ACL, were given honorable
mention for Two Weeks in Southern
Florida and New Mexico, respectively.

Denver Salon Tne Denver Tram-
way Auditorium
was the scene recently of a movie ex-
hibition sponsored by the Denver Cine-
ma League, consisting entirely of mem-

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bers' films. More than 400 persons
attended the show, which included The
Awakening, by Don E. Nungester;
Pleasure Trails of the Southwest, by
W. I. Nelson, ACL; Colorado — Land
of Fair Color, by Markley L. Pepper,
ACL; Autumn in Yosemite and Sheep
Trains, by Mel W. Swansick, ACL, and
Pasadena Parade, by A. D. Kleyhauer.

Bergen party Tne Christmas party
of the Amateur
Movie Society of Bergen County, ACL,
in New Jersey, was the scene of the
installation of newly elected officers for
1950, who were chosen as follows: Cy
Jenkins, ACL, president; Arthur Carl-
son, vicepresident ; Harry Levine, sec-
retary; Andrew Kinbacher, ACL,
treasurer; George Labes, program
chairman, and William Messner, ACL,
publicity chairman. A program of films
made up the entertainment portion of
the meeting, including His Favorite
Fruit, by outgoing president Stephen
T. Moran, ACL; Why Should I Fear
Cancer?, club production which re-
cently won an Honorable Mention in
the Ten Best contest for 1949, and The
Perplexed Hunter, by Mr. Messner.

Johannesburg contest Movie

amateurs
all over the world are invited to sub-
mit their films for showing in the
fourteenth South African Salon spon-
sored by the Johannesburg Photo-
graphic and Cine Society. An unspeci-
fied number of gold, silver and bronze
plaques will be awarded outstanding
films, together with attractive leaders.
There are no restrictions as to subject
matter, gauge or type of film, but no
competitor may enter more than four
productions. A nominal fee of five
shillings (about 75^) is imposed on
each entry for handling charges.

Official entry blanks may be had on
request to the ACL Club Department,
at League headquarters. Closing date
for entries is March 15, 1950, in
Johannesburg.

Titles in Bronx Led by guest

speaker Charles
H. Benjamin, ACL, of the Brooklyn
Amateur Cine Club, ACL, a demonstra-
tion of various titling techniques was
staged at a recent session of the New
York Cine and Camera Club of the
Deaf, ACL. Mr. Benjamin also showed
his prize winning films, Fantasy in
Toy land, How Green is the Earth and
Hubby Finds a Hobby.

N. Y. 8 program A diversified
evening of
entertainment and instruction was of-
fered the pre-holiday gathering of the
New York City 8mm. Motion Picture
Club. The program opened with a
demonstration of Movievox, synchron-
ized wire recorder outfit, by represen-

Dr. Rudolph Van Gelder

£L f: £ o &

BERGEN COUNTY, N. J., club members re-
ceive thanks from W. Caldwell, center, for
cancer film. Seen (I. to r.) are R. Miel-
brecht, ACL, W. Messner, ACL, cancer secre-
tary Helen Armstrong and Cy Jenkins, ACL.

tatives of the manufacturer, Wells
Movie Products. This was followed by
the screening of the new ACL color
leader, presented by J. F. Hollywood,
FACL. An overseas guest in the person
of Hans Koenen, of Rotterdam, Hol-
land, projected his black and white
film of the coronation ceremonies that
took place last year in Holland. Other
films shown were Fiesta in Santa Fe,
by Bernie E. Cawley, of Denver, and
Erinnerungen, by Ernst Wildi, of
Switzerland.

Parkchester awards The annual

Christmas
party of the Parkchester (N.Y.) Cine-
ma Club, ACL, held at the Park House
Restaurant, was the scene of the pres-
entation of the club's Hollywood-type
Oscars to 1949 contest winners. The
engraved bronze images went to Martin
Weledniger, for Birth of a Shutterbug,
and Leo Charwat, for Mexico, winners,
respectively, in the 8mm. and 16mm.
classes.

Vailsburq A program of six films
was offered members and
guests of the Vailsburg Cine Club.
ACL, of Newark, N. J., at its annual
open house held before Christmas. The
films shown were Doghouse Blues, by
Earl Sparks, ACL; The Unexpected,
by Ernest H. Kremer, ACL, both bor-
rowed from the ACL Club Library;
It Could Happen To You, 1948 club
production; A Christmas Fantasy, by
Tom Gray, ACL; Homework, by club
president Ted Kerekes, and A Winter
Night's Dream, by Jean Schweizer. All
films were screened with magnetic wire
recordings. The show was staged at the
club headquarters, the Ivy Street School
in Newark.

L. A. elects Destiny of the Los
Angeles Cinema Club
for 1950 will be in the hands of its
newly chosen president, Charles M.
Peters, vicepresident Maury Kains,
ACL, and secretary Marcus I. Russek.
Herbert E. H. Linden is treasurer.
Officers were installed recently at the
annual dinner meeting held in the Los
Angeles Breakfast Club.

FEBRUARY 1950

Hunt for human interest!

[Continued from page 51]

picture the native way of living. For
we had explained to him that our in-
terest in his people was not to ridicule
their habits and customs; we sought
only to show sincerely to our friends
back home how his people lived.

This is very important, for some
guides have seemed to resent our quest
for good native shots. Our Hawaiian
friend, although an American college
graduate, was of Chinese-Hawaiian an-
cestry. Always willing to aid us in film-
ing other mixed Hawaiian nationalities,
he balked at all our efforts to docu-
ment the Chinese-Hawaiians.

With or without a guide, the travel
filmer should keep in mind the expres-
sion, "people have more fun than any-
one." Human interest is the key. Mar-
kets, wharves, fishing villages, native
picnic grounds — wherever the multitude
gathers — there will be the fine movie
shots. But go there in a small group —
or better still, alone. A large conducted
group will bother both your subjects
and yourself. Even alone it will not al-
ways be possible to get your sequences
without trouble. But a ready camera,
a still more ready smile, and some-
times a ready tip will get the pictures.

Avoiding the obvious is, I think, an-
other secret of travel filming success.
In Mexico City, for example, everyone
goes to Chapultepec Park on Sunday
to see the charros, brilliantly costumed
gentlemen cowboys, strut their stuff.
But our notes took us also to Rancho
de Charro. where other charros, not so
elegantly dressed, performed real feats
of horsemanship.

Also. I have learned never to pass
up a shot of some action because you
think you will get a better chance at it
later. Frequently "later" never comes.
I have missed many a lively subject
because I wasn't satisfied with its first
example, only to find that later exam-
ples were still less good — or did not
exist at all.

On the other hand sometimes per-
sistence is needed. Don't be discouraged
if you fail a shot the first time out.
One of my Hawaiian notes called for
a Chinese truck gardener working with
his water buffalo. I found one at last
outside of Honolulu, but master and
beast were both camera shy. Five
times I tried for them and five times
I failed. Finally came the day of our
departure. We were to sail at noon.
Early that morning I slipped away with
my son for one last try. "You take it,
Bill; they won't suspect you. Use the
telephoto."

• It worked. Bill got some excellent
shots before the camera was discovered,
and we were ready to sail at noon.
Once more, advance planning had cap-
tured the human side of native life.

MOVIE MAKERS

Miami amateurs defeat union

bill curbing film projection

LED by Dr. J. M. GirarcL ACL: presi-
dent of Miami Movie Makers Club.
ACL, and vigorously supported by
Ralph E. Gray. FACL. a director of
the Amateur Cinema League, personal
filmers in Miami. Fla.. defeated early
last month a proposed city ordinance
which would have limited the projec-
tion of motion pictures. It was the third
time within a year that such a bill had
been presented before the Miami City
Commission.

The proposed ordinance was spon-
sored by members of the local motion
picture projectionists' union (IATSE —
International Alliance of Theatrical
Stage Employes and Moving Picture
Machine Operators) and WOTEMCO
Theatres, a local chain of theatrical
exhibitors. The ordinance read in part:

Section 1: With the exceptions here-
inafter provided, no motion picture
films or motion picture performances
shall be exhibited, displayed, run 01
shown in the City of Miami in any
place except in a licensed motion pic-
ture theatre constructed as a theatre,
or in a Group A, Group B or Group C
building, as said buildings are defined
in the Building Code of the City of
Miami.

Section 3: The provisions of this
ordinance shall apply whether admis-
sion is charged or whether admission
is not charged.

The ordinance then listed a series of
sweeping exceptions to its regulations,
as follows :

Section 4: The provisions of this
ordinance shall not apply to schools,

churches, museums, armories, libraries,
hospitals, sanitariums, orphanages, nurs-
eries, penal institutions and asylums,
nor to the private exhibition of motion
picture films in private divellings, etc.

The fire hazard of all motion picture
projection was the reason claimed by
the union operators for passage of the
proposed bill. In their argument they
even attributed the late Hotel Wynecote
fire, in Atlanta, Ga.. to someone hav-
ing "sneaked in a 16mm. projector."
Mr. Gray dramatically scotched this
claim by physically demonstrating be-
fore Mayor William Wolfarth and
members of the City Commission that,
when apart from live flame, amateur
(acetate base) movie film cannot burn.

Official definitions of acetate base
film as "non-inflammable" and "safety
film." supplied by Amateur Cinema
League headquarters from rulings of
the United States Post Office, the
Underwriters Laboratories. Inc.. the
National Board of Fire Underwriters
and the American Standards Associa-
tion, also were put in evidence by the
Miami Movie Makers.

After an hour and a half of stormy
debate, the proposed ordinance was
rejected by the City Commissioners.
Legislation already in force on the
city's books, they said, adequately pro-
tected the public from the fire hazards
of nitrate base, theatrical film projec-
tion. Any further regulations, as pro-
posed by the union operators, were un-
necessary, unwarranted and — despite
the sweeping exceptions — could lead
to an invasion of personal freedom.

Movies in color: 3

[Continued from page 62]

TO COMPENSATE OR NOT
It should be kept in mind when
using an incident light meter that the
meter is calibrated so as to reproduce
flesh tones accurately. Therefore, use
of the stop indicated by the meter is
advisable whenever persons appear in
the scene, regardless of the compensa-
tion for light-colored or dark-colored
objects otherwise suggested.

When taking a reading of distant
scenes outdoors, such as landscapes or
mountains, it is recommended that
slightly less exposure be given to the
film than is indicated by the incident
light meter. To arrive at the proper
compensation in exposure, a reading
should be taken with the meter pointed
toward the camera and a second read-
ing made with the meter pointed at the
sky. These are averaged and an ex-
posure half way between is given.

READING FOR BACK LIGHT

When it comes to calculating the
proper exposure for a back lighted
scene, the cameraman must be the
monitor of his meter, regardless of
which type is used. Both instruments
provide a reading automatically which
is correct for fully lighted subjects. But
meters do not know when a subject
is back lighted. You do, and so you
must make some adjustments.

Let us suppose that you are taking
a picture of a girl in bright sunshine
and that you wish to take advantage
of the pleasing effects of back lighting
for this particular scene. To the eye.
the slanting sunshine outlines the head
and shoulders of the girl strikingly, but
her face and other details of the figure
are in shadow.

With the reflected light meter you
would take a reading of the shadow
side of the subject, taking care that
rays from the sun or from other objects
are excluded. With the incident light
meter, you would simply point the

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FEBRUARY 1950

IT CAN HAPPEN HERE

THE dramatic defeat by Miami (Fla.) movie
makers of a union-sponsored ordinance to control
all motion picture projection in the city should
be a clarion warning to amateur filmers everywhere.
Urged by the projectionists' union as protecting
the public against fire hazard, the bill was as ridicu-
lous as it was unwarranted. In every community in
the world large enough to show motion pictures
theatrically, there already exists civic legislation which
does protect the public from the hazards of 3 5mm.
nitrate-base film. With acetate-base film (all 8mm.
and 16mm. stock) there is no fire hazard. There-
fore no further legislation is needed to control its use.
Any person or pressure group which urges such
legislation does so with selfish and personal, not pub-
lic, interests in mind. Amateur filmers should not be
lulled or misled by the sop of sweeping exceptions in-

cluded in the Miami bill. For its union sponsors to
propose them was as presumptuous as it was unneces-
sary. This is, we are informed, the third such ordinance
within a year to be urged by the local union before
the Miami City Commission. In the next one, per-
haps, or in the bill proposed to your city government,
there may be no exceptions.

Amateur filmers can defeat these pressure-group
invasions of personal freedom. They cannot do so,
however, individually and without organization. As
in Miami, they can do so only by being on the alert,
and by reporting immediately any such activity to
the Amateur Cinema League. We have successfully
led the opposition to many such efforts in the past.
Whenever the freedom of amateur filming is at stake,
we shall continue to do so in the future.

Remember, it can happen here.

John V. Hansen, President
Ethelbert Warfield, Treasurer

C. R. Dooley
Ralph E. Gray
H. Earl Hoover

THE AMATEUR CINEMA LEAGUE, Inc.

Founded in 1926 by Hiram Percy Maxim

DIRECTORS

Joseph J. Harley, Vice President

James W. Moore, Managing Director

Harold E. B. Speight
Stephen F. Voorhees
Roy C. Wilcox

AMATEUR CINEMA LEAGUE, Inc.. 420 LEXINGTON AVE.. NEW YORK 1 7. N. Y., U. S. A.

photosphere of the instrument at the
camera, from subject viewpoint, allow-
ing the sun's rays to fall upon the pho-
tosphere from the rear.

Under such circumstances, both me-
ters would give you about the same
reading. But if you were to expose the
film as indicated by either meter, the
shadow side of the subject would be
reproduced as brightly as if it were in
direct sunshine, or approximately so.
In any case, the effect of back lighting
would be washed out.

A suggestion would be to give one
full stop less than indicated by your
meter under such circumstances, so that
the shadow would then reproduce as a
shadow. Later, you could study the pic-
ture on the screen and decide to give
more or less correction depending upon
your personal taste in the matter.

EFFECT OF SUBJECT CONTRAST
Color film will reproduce contrasting
subjects satisfactorily within certain
limits. Extremely light-colored and
very dark-colored objects in the same
scene will be reproduced fairly well if
the contrast range does not exceed
1:16. This means that the brightest ob-
ject must not be more than sixteen
times brighter than the darkest object.
With the lens diaphragm set for me-
dium toned objects (in this case, ob-
jects whose color is midway between

the extremes included in the scene) ,
then the entire range of contrasts
(from 1 to 16) will be reproduced
pleasingly on the screen.

If this ratio is exceeded in, for ex-
ample, a scene outdoors where con-
trasts of 1 :30 are often encountered,
then the principal objects in the scene
are favored and an exposure given
which will reproduce those objects
satisfactorily.

EFFECT OF LIGHTING CONTRAST

Contrasty lighting will further ag-
gravate subject contrast, because ob-
jects in shaded areas naturally reflect
less light than do objects which are
fully illuminated. Therefore, it will be
seen that with color film light should
be projected into shaded areas; if that
is impossible, a camera viewpoint
should then be chosen which will
make the details in the shadow area
unimportant. In other words, simply do
not photograph scenes with color film
if there are important objects in both
the highlighted and shaded areas.
Such a scene would be a group of peo-
ple, some of whom are in sunshine,
others in shadow. Under these condi-
tions, the results are certain to be dis-
appointing.

Sometimes control over the lighting
arrangement can be exercised — such as
using a reflector to lighten the shadow

side of a sunlit subject in making a
closeup, or when working indoors with
several movie lights. At such times, the
main light is supplemented by a so
called fill-in light on the other side of
the subject. It is generally conceded
that the light reaching the subject from
the fill-in light should be at least one
quarter as bright as the highlighted
side, or create a ratio of 1:4.

Where harsh subject contrasts are
encountered in a scene, exposure lati-
tude is reduced to the minimum — and
only one diaphragm stop will give a
satisfactory exposure. If this exposure
is increased or decreased, then the
light colored objects will be washed
out or the dark colored objects will be
reproduced too dark, as the case may
be.

On the other hand, if a narrow range
of contrasts is encountered — such as in
yachting scenes on a gray day, when
subject contrasts may not exceed 1 :4 —
the scene will be reproduced quite
satisfactorily even if a variant of two full
stops either way from the correct stop
is used. For this reason it can be said
that the exposure latitude of color film
depends somewhat upon subject con-
trast.

(Movies in Color: 4, a complete sur-
vey of exposure and lighting techniques
indoors, will follow in March. — The
Editors.)

100,000 MOVIE MAKERS HELPED WRITE
THIS GUIDE TO MAKING BETTER MOVIES

The ACL MOVIE BOOK

READ THE COMPLETE TABLE OF CONTENTS

WHAT IS A MOVIE?— A fundamental discussion of films and filming.

WHAT MAKES A MOVIE?— The basic principles of the motion picture;
scene, sequence and camera viewpoint.

A MOVIE'S CHIEF TOOLS— Essentials of your camera, film and projector.

BASIC CAMERA TECHNIQUE— The practical problems of exposure, focus,
scene length and camera handling.

FILM PLANS AND SCRIPTS-How to develop any film theme in easy and
entertaining continuity.

AROUND THE YARD MOVIES-Family films come first from the camera
of every home movie maker.

WE NEED MORE MOVIE TOOLS-How to use accessory lenses, filters,
tripod, exposure meter and the advanced camera.

THE CAMERA STEPS OUT— Pictures of picnics, holidays, games and out-
door sports.

THE CAMERA SEES THE WORLD-Planning and producing the travel film,
by auto, train, plane or ship.

FILMING PUBLIC EVENTS-What makes a movie of a parade or pageant,
a football game or a county fair.

MAKING READY TO PROJECT— The tools and techniques of editing, splicing,
title writing and title making.

PROJECTION— Placing the projector, screen and audience; use of narrative
and music.

FILMING INDOORS — The equipment, principles and practice of interior
lighting and exposure.

THE CAMERA DECEIVES— Simple and advanced camera tricks; reverse
motion, stop camera, movies in a mirror, animation, miniatures, double
exposures and time lapse.

THINGS FAR AND NEAR— Using the telephoto lens, and other methods of
closeup movie making.

BETTER METHODS OF EXPRESSION-Creating and using basic film effects;
the fade, lap dissolve, wipe off, moving camera, montage editing and
composition.

MOVIES IN COLOR— Complete characteristics of Kodachrome and Ansco
Color; exposing color film indoors and out; filters for color; subject matter
and lighting contrasts.

SOUND WITH FILMS— Use of narrative, music and sound effects, on disc
or sound tracks.

SPECIAL PURPOSE FILMS— Personal films in business, teaching, science and
the church; the film story and the documentary.

PROFITS FROM YOUR MOVIES-How competent amateur filmers help
pay the freight.

THE MOVIE SHOPPER— Eight or Sixteen? Buying used equipment; acces-
sories and services.

MOVIES

i i J

s s s

00K

Of! CINEMA LEAGUE, INC.

TWO WAYS TO GET THIS BOOK

Order from your favorite book store, photo
graphic dealer, or direct from the publishers

an If you join The Amateur Cinema League
" the book is yours FREE, plus all the
League Services, plus MOVIE MAKERS Maga
zine for one year, for only $6.00. Use EITHER
coupon below! DO IT NOW!

AMATEUR CINEMA LEAGUE, Inc.
420 Lexington Avenue
New York 17. N. Y.

2-50

Please send me

copies of The ACL MOVIE

BOOK. I enclose remittance for $3.00 each, made
payable to Amateur Cinema League, Inc.

Name-

Street.
City —

_Zone_

State-

2-50
AMATEUR CINEMA LEAGUE, Inc.
420 Lexington Avenue
New York 17, N. Y.

Name_

Street-

City.

_Zone

-State-

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TRADE-MARK

MAR.
1950
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MOVIE MAKERS

©CI 8 23 7 235

Waiting for your ship to come in?

Photography is simply writing with light. Sounds
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It is, and it isn't. And if you're still waiting for
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THE MAGAZINE FOR
8mm & 16mm FILMERS
Published Every Month by
AMATEUR CINEMA LEAGUE

March
1950

The reader writes 86

New ACL members 90

Closeups What Rimers are doing 91

Exposure meters and how to use them Charles H.Coles, ACL 93

Dissolves without a backwind

Camera tricks a la carte

Simple split-screen effects

Try super-telephotos!

The clinic

The noblest Roman

Desert filming ways

Movies in color: 4

News of the industry

Late releases

Clubs

United we stand . . .

G/en H. Turner, ACL 94

William L. Lucas 96

Jack E. Gieck 97

Irvin L. Oakes 98

Aids for your filming 102

A picture story 1 03

Felix Zelenka 104

106

Reports on products 107

New 8mm. and 16mm. films 111

People, plans and programs 114

Editorial 1 1 8

Cover photograph by Sid Glanzer

DON CHARBONNEAU
Consultant Editor

JAMES W. MOORE
Editor

JAMES YOUNG
Advertising Manager

ANNE YOUNG
Production Editor

Vol. 25, No. 3. Published monthly in New York, N. Y., by Amateur Cinema
League, Inc. Subscription rates: $3.00 a year, postpaid, in the United States and
Possessions and in Argentina, Bolivia, Brazil, Chile, Colombia, Costa Rica,
Cuba, Dominican Republic, Ecuador, El Salvador, Guatemala, Haiti, Honduras,
Mexico, Nicaragua, Panama, Paraguay, Peru, Spain and Colonies, Uruguay and
Venezuela; $3.50 a year, postpaid, in Canada, Labrador and Newfoundland;
other countries $4.00 a year, postpaid; to members of Amateur Cinema League,
Inc. $2.00 a year, postpaid; single copies 25£ (in U. S. A.). On sale at photo-
graphic dealers everywhere. Entered as second class matter, August 3, 1927,
at the Post Office at New York, N. Y., under act of March 3, 1879. Copyright, \,
1950, by Amateur Cinema League, Inc. Editorial and Publication Office: 420
Lexington Avenue, New York 17, N. Y.. U.S.A. Telephone LExington 2-0270.
West Coast Representative: Edmund J. Kerr, 6605 Hollywood Boulevard, Los
Angeles 28, Calif. Telephone HEmpstead 3171. Advertising rates on application.
Forms close on 10th of preceding month.

CHANGE OF ADDRESS: a change of address must reach us at least by the
twelfth of the month preceding the publication of the number of MOVIE
MAKERS with which it is to take effect.

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BANDED TOGETHER

Dear ACL: The news item in February
Movie Makers about the defeat of a
proposed ordinance in the City of
Miami which would have limited the
projection of all motion pictures is one
more example of how we must fight
continually to maintain our rights — and
how effective that fight is when we
are banded together in a world wide
organization like the Amateur Cinema
League.

By contrast in the same issue, I read
where some amateur said that unless
he got more for his $3.00 the coming
year than he did the last, he was going
to subscribe to the magazine only and
to heck with the League. He got many
times his three dollars' worth at Miami
alone, if he would only stop to think
about it. And Miami is only one in-
stance of many where the ACL has
gone to bat for the amateur and kept
his hobby free!

Al Morton, FACL
Salt Lake City, Utah.

HE'LL BE SOLD . . .

Dear Mr. Moore: So it's to heck with
the League, is it? Mr. Brooke's letter
in February Movie Makers disturbs
me. For, if he consults the experienced
League staff (there's no limit, of course,
on the number of times) on a techni-
cal problem, on continuity and film
planning, on reviewing his films and
getting constructive suggestions for
their betterment, he'll be as sold on
League membership as all of us are.

We should all be thankful that such
an association of amateur filmers exists.
We should take advantage of its serv-
ices as we need them, and give to it
not only in membership fees but in con-
structive suggestions as well.

Victor Ancona, ACL
New York City

AND BUT FREE!

Dear Sirs: I am wondering whether
Mr. Brooke has ever availed himself
of the many services which the ACL
offers members — and but free!

Recently I had occasion to show a
film in New York City, and I wrote the
League to say that I would probably
drop in to say "Hello" during this visit.
Without requesting the favor, I was

offered the use of the League's projec-
tion room, which you can bet I took
advantage of. Need I state that I con-
sider this service worth many times
more than the yearly membership dues
in ACL?

William A. Thomas. ACL
Buffalo, N. Y.

I'LL TELL 'EM

Dear Sirs: If any person wants to
know what advantages there are in be-
ing a member of the ACL, let me know.
I'll tell 'em. The League's cooperation
with me personally and with the Fond
Du Lac Movie Makers has been won-
derful, and I and many other ama-
teurs appreciate it.

Gilbert Giebel, ACL
Program Chairman
Fond Du Lac Movie Makers
Fond Du Lac, Wise.

VALUE OF UNITY

Gentlemen: In The Reader Writes
column for February, Joseph A. Wag-
ner, ACL, voices my chief reason for
being a member of ACL — namely the
value of unity and organization.

I have received many benefits by
belonging to the League. But in unity
there is strength. And for this reason
alone a League membership is the
cheapest insurance any movie maker
can buy to insure his being able to
carry on his hobby unmolested.

Arthur H. Elliott, ACL
Forest Park, 111.

FEEL LIKE THE BANANA

Dear ACL: It was quite interesting to
read an item in The Reader Writes and
then turn to page 77 of February Movie
Makers and read of the recent defeat
of that union bill in Miami. In my
opinion, the League's defeat of this bill
is a splendid answer to Mr. Brooke in
his assertion that membership in the
ACL is of no value. .

Matter of fact, in belonging to the
ACL I feel like the banana. Once you
get away from the "bunch," you al-
ways get skinned.

Markley L. Pepper, ACL
Denver, Colo.

Quite a number of other people, over
the years, have expressed themselves on
the value of unity — or "sticking by the
bunch." We have made a partial roundup
of them on page 118.

HAS SINGLE-FRAMED SUNSETS

Dear Movie Makers: In the letter
column of a recent issue a fellow mem-
ber wants to know if anyone has tried

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shots of sunsets using a single frame
release.

I have just returned from a fourteen
month trip in Arizona and New Mexi-
co, where I made several such shots.
They are beautiful! If Mr. Brockman
wants any information on such shoot-
ing, I will be glad to hear from him.
Robert D. Hesson, ACL
107 Maple Street
Fairfax, Va. '

EXPOSURE DATA WANTED

Gentlemen : My wife and I both enjoy
Movie Makers very much, especially
the articles in the last two months on
the use of wide angle and telephoto
lenses. We would be interested to see"
an article on exposure meter operation,
especially how to get a reading on dis-
tant objects such as El Capitan, in
Yosemite National Park.

Fred Rohlinc, ACL
Kansas City, Kans.

Easiest way to calculate exposure on
distant objects is to use the "gray card"
system. For more on this and other meter
matters, member Rohling may turn to
page 93 in this issue.

EXPRESSED IT CLEARLY

Dear Mr. Moore: Your reply in The
Reader Writes to the query by Charles
Benjamin, ACL, as to what makes a
good amateur movie was masterly. I
have heard and read many opinions on
this subject, but never has anyone ex-
pressed it so clearly, so concisely and
so beautifully.

Sidney Moritz, ACL
New York City

INFORMATIVE AND INSPIRING

Gentlemen: Recently I have bought
several issues of Movie Makers at the
photographic store. I have enjoyed them
so I honestly don't see how I got along
without them. The articles are infor-
mative and inspiring. I have decided
I would like to become a member of
the Amateur Cinema League.

Mrs. W. A. Fuerst, ACL
Cincinnati, Ohio

WIDE ANGLE STABILITY

Dear Mr. Moore: Congratulations on
the fine articles in recent Movie Makers
on the different lenses, their uses and
their advantages. May I add my paltry
two cents worth to your complete cov-
erage of the wide angle, my pet lens?
I think its greatest advantage can best
be described as its "stability." In cross
splicing scenes taken with tripod-
mounted and hand-held cameras, I
found the difference in steadiness and
resultant clarity was astounding. Not
wishing to abandon hand-held opera-
tion entirely, I theorized that if the
telephoto exaggerates camera move-
ment, the wide angle should minimize
it.
T replaced the 25mm. lens on the

RALPH E. GRAY, FACL, left. League director,
receives life membership scroll from Dr. A.
Merritr Melvin, ACL, an officer of Miami
Movie Makers Club, ACL, in honor of Gray's
aid in recent Miami union-ordinance battle.

hand-held camera with a 15mm. w.a..
and the objectionable contrast between
tripod and hand-held shooting has been
eliminated.

William G. McKelvy, ACL
Easton, Pa.

To charter member McKelvy, our sin-
cere thanks for this sound and interesting
addition to wide-angle lens lore.

MORE THAN WE EXPECTED

Dear Mr. Charbonneau: I wish to
extend to the Amateur Cinema League
and yourself the appreciation of the
Parkchester Cinema Club for the fine
job you did for us in judging our re-
cent movie contest. Your thorough and
helpful criticism was more than we ex-
pected, knowing how busy you folks
are at the ACL.

Raymond J. Fitzgerald
Program Chairman
Parkchester Cinema Club
Bronx, N.Y.C.

Questions ^q
Answers

STATIC IN SPOOLING

Dear Sirs: For title making, I have
been buying positive film in bulk and
spooling it myself. But no matter how
slowly I wind the film on the camera
spool, I find it marked up with static
tracing* wheBsciteieB-destelftped. What can
I do to stop this nuisance?

Jerry Earhartt
Des Moines, Iowa

The static electricity is created by the
relative dryness and coolness of the at-
mosphere. Try spooling your film in warm-
ish, humid conditions, such as you can
create by running the shower briefly in
a closed bathroom.

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A warm welcome is extended to all of the new
ACL members listed below. They have been
elected to and joined the League since our last
publication. The League will be glad to forward
letters between members which are sent to us
with a covering note requesting such service.

Wash.

Donald Beavis, Los Angeles, Calif.
F. Bogdan, Vancouver, Canada
Stanley C. Broome, Nashville, Tenn.
Dr. Leonard E. Carr, Kansas City, Mo.
Mrs. Carl Carter, Duncan, Okla.
Chester M. Francis, Ogden, Utah
H. Marvin Ginn, Chicago, III.
Warren R. Goade, Walla Walla,
Harold M. Kearns, Areola, III.
William Keir, Plainfield, N. J.
Goldie Kiester, Duncan, Okla.
Naylor C. Lee, Berkeley, Calif.
Zane C. McCreary, Pittsburgh, Pa.
Swen O. Nicholson, Portland, Ore.
Walter Taylor, North Branch, Mich.
Dr. Alfred L. Thelin, jr.,

Albuquerque, N. M.
Jaime Varela, Newton, Iowa

Elmer R. Camp, Twentynine Palms, Calif.

W. E. Cox, Charleston, W. Va.

Obert Dahlen, Rio, Wise.

Dean C. Eger, jr., Bronxville, N. Y.

Anton Janda, jr.. Cicero, III.

H. F. Knox, San Francisco, Calif.

Carl Riste, Minneapolis, Minn.

Gino Simonini, Port Said, Egypt

R. F. Wickenhagen, Gorinchem, Holland

Sgt. E. J. Buxton, Whitehorse, Canada
C. J. Del Cantaro, New York City
Earl Fidler, Cuyahoga Falls, Ohio
Gertrude Kooyman, Willoughby, Ohio

F. McKenna, Hollis, N. Y.

John B. Newlin, Crawfordsville, Ind.
Dolores Pellarin, St. Louis, Mo.
Warren Phipps, New York City
Henry J. Sealey, M.D., Dumont, N. J.
Lt. Col. Harold J. Crumly,

Albuquerque, N. M.
Martha Rosche, Milwaukee, Wise.
Joseph Sikosky, jr., Cleveland, Ohio
Robert Zillmer, Milwaukee, Wise.

Charles H. Coles, Richmond Hill, N. Y.

William Friedmann, New York City

Merle H. House, Roxana, III.

P. E. Joyce, New York City

Frank C. Knudsen, Danbury, Conn.

G. B. Lim, Amoy, China
Oscar Powers, New York City

C. F. Ayres, Cuyahoga Falls, Ohio

A. E. Carlson, West Englewood, N. J.
Mrs. Charles Chipman, jr., Easton. Pa.
Cine Club "Ical-Milano," Milano, Italy
Walter Guenther, Cleveland, Ohio
Arthur M. Iverson, New York City
Robert E. LaVeine, Burlington, Iowa
W. H. Marshall, Aledo, III.

Dale A. Phillips, DAC, San Francisco, Calif.
Michael A. Sorieri, New Rochelle, N. Y.
W. P. Whitcomb, Ogden, Utah
Louise L. Born, Follett, Texas

D. Paul Fisher, South Bend, Ind.

B. N. Lavender, M.D., Albertyille, Ala.
William Lucht, Spokane, Wash.

John A. Pryor, Temple City, Calif.
Charles A. Riggs, Los Angeles, Calif.
G. J. Thompson, Sacramento, Calif.
W. S. Crowell, San Francisco, Calif.
Dr. Hubert A. Eaton, Wilmington, N. C.

C. E. Garvey, Syracuse, N. Y.
Virginia M. Tripp, Flint, Mich.

MOVIE MAKERS

CloseupS— What filmers are doing

The trek of League members to Europe
this spring and summer will soon be
under way. Mark Lansburgh, ACL,
of Washington, D.C., has completed his
plans for a motor trip through southern
France, where he will expose approxi-
mately 4000 feet of film during the
course of a two month stay. He and
Mrs. Lansburgh plan to leave about
the first of May, returning to Washing-
ton by the end of June.

On one of his briefer jaunts, Cal Dun-
can, ACL, of Lee's Summit, Mo., paid
us a recent visit en route to Hartford.
Conn., where he was to screen his 1949
Ten Best winner, Mexican Malarkey.
We have since heard, with no surprise,
that Hartford Cinema Club members
found the genial Mr. Duncan and his
amusing travel reel as refreshing as
we did.

Mexico being his favorite stamping
ground (he manages four vacations a
year), he promised to send us further
evidence to sustain his claim that the
amateur movie maker's paradise is
south of the border.

Travel Notes: Edwin E. Connell,
ACL, of Scranton. Pa., is making an
air tour of South America, on which he
plans to put his new Bell & Howell
70DA to good use . . . Th. R. Knudsen,
ACL, of Los Angeles, is going on safari
in Tanganyika, Africa. While the trip
is primarily a hunting expedition, Mr.
Knudsen hopes to bring back the story
of the hunt on film . . . Willard Kam-
holz, ACL, of New York City, is busy
editing footage on Mexico which he
and his wife shot last month on an air
trip south.

A recent visitor to League head-
quarters was G. J. Gast, jr., ACL, of
Almelo, Holland, who, with his wife,
has been enjoying a six week tour of

the United States. Mr. Gast's film,
Rogge, was an Honorable Mention
winner in the 1948 Ten Best contest.
While here he showed us some of the
footage shot during a visit to Canada
last year.

Forty eight hundred feet of 16mm.
Kodachrome have whizzed through the
Magazine Cine-Kodak of Lt. Col. W. K.
Payne, ACL, since he has been in
Japan with American occupation forces
at Headquarters, I Corps, in Kyoto.
The footage now has been edited into
a feature length documentary study of
the country, entitled Japan Today.
Colonel Payne had the assistance of
five Japanese during the production,
in which they served largely as tech-
nical advisers and interpreters of the
various phases of native life being pic-
tured.

M ovie Makers announces with pleas-
ure the appointment of James W. Moore
ACL, managing director of the League,
as a member of the Engineering Com-
mittee on 16mm. and 8mm. Motion
Pictures of the Society of Motion
Picture & Television Engineers. The
committee is headed by Henry J. Hood,
of the Eastman Kodak Company, at
whose request the appointment was
made.

We have had a first hand account of
the turmoil in Shanghai, during the
evacuation of Americans and other na-
tionals, from J. E. Briceno, ACL. late
minister to China from Panama. Visit-
ing us while on a shopping tour for
new equipment, Mr. Briceno was calm
enough over his loss of equipment to
the invaders, but the film loss was
something else again. Mr. Briceno and
his wife took a world tour last year, and
a good part of this footage was among
the lot lost.

NEW! BETTER!
EASIER-TO-USE!

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• Here's value hard to beat
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meter. It's smarter, more
modern in appearance.
Easier to use, it offers you
all the features for better
pictures — black and white,
color, movies, stills. Don't
miss seeing the DW-68 at
your dealer's ! General Elec-
tric, Schenectady 5, N. Y.

And if you print your own, you' 11 want
a G-E T-48 interval timer for your
darkroom. Gives accurate, automatic
control of printer or enlarger. You'll
find it at your dealer's, also. S13-95*

*Fair traded

CHARLES H. COLES, ACL, exposure meter engineer for DeJur Amsco Corporation, checks a meter
against known light from U. S. Bureau of Standards calibrated lamps in DeJur's test darkroom.

GENERAL

ELECTRIC

MARCH 1950

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Exposure meters and how to use them

An experienced meter engineer outlines the basic techniques of exposure calculation

THE photoelectric exposure meter is probably the most
valuable aid to consistent densities in amateur movies
since the perfection of reversal processing. Under -
standingly used, any one of today's reliable meters should
return vou accurate and attractive results under all con-
ditions of light and shade. But your meter is not fool-
proof, and it cannot think for you. To get from it effective
and consistent exposures, it is essential that the photogra-
pher understand both what the meter does and how it
does it.

To understand the operation of an exposure meter,
let's assume that we wish to film an average scene — one
that contains some light and some dark subjects. The
normal range may be from light flesh tones, for example,
to a dark foliage color. In reading such a scene with the
meter, the simplest method is to do so from camera po-
sition. But. if the extremes of contrast are great, more
accurate results may be gained by reading each of the
two extremes and averaging the answers. Although ac-
curate, this latter method mav become bothersome.

But let us assume that most light and dark areas in
average scenes will usually return about the same read-
ings. If, now, we could arrive at a single average of
these readings, we would have a tone which could be
dependably read under almost all light conditions. This
average tone between the light and dark areas of most
scenes is naturally not a white nor a black. It must be
somewhere in between, a gray color and a rather dark
one at that — about the shade of a man's gray hat. So
let's paint a card about a foot square with some dark
gray water color or purchase what is called a Neutral
Gray Test Card in a photo store.

Now that we have our average subject represented
by the gray card, the fundamental operating principle

CHARLES H. COLES, ACL

of all exposure meters is easily explained. They are
scaled to give a correct reading directly only from aver-
age scenes. This can be shown as follows: If we point a
reflected-light meter toward an average scene, it will
indicate how much light is being reflected toward the
camera — and a correct exposure for that scene. Now. if
we bring down in front of the meter our average gray
card, the meter should read exactly the same as before —
provided that our scene was truly a scientific average.

Now let's take a non-average scene — say a snowy
landscape, where almost everything is white. The meter
pointed at this scene will read very high. If, however,
an exposure is made at this reading, the result will be
disappointing. For the essentially light snow scene will
not seem light. It will seem average toned, for that is the
way the meter is made to see it. But, if we now bring our
gray card down in front of the meter so that the meter
reads only the light from the card, the reading will be
restored to a more nearly correct exposure.

For the gray card is always the same, and the amount
of light it reflects depends only upon how much light
falls upon it. Some exposure meters are designed to read
the light falling on the subject directly without the use
of the card. These are called incident-light meters and are
pointed at the camera rather than toward the subject.
Thus, the same intensity of light that falls on the scene
also falls on the light-sensitive cell.

Now we can compare both types of exposure meters:
the meter you point toward the scene I reflected-light meter)
assumes that you are pointing it toward an average sub-
ject, which is rarely the case. The meter that you point
toward the camera I incident-light meter I also assumes
that you have a subject that is average. What you have
to watch out for is the non- [Continued on page 113]

AN AVERAGE SCENE, ranging from high key of flesh tones to low
density of dark foliage, is best metered from camera position.

A CLOSEUP SCENE, especially in the high key of a child's face,
is best metered on gray card or directly with compensations.

FIG. 1: With camera empty, spring-run the footage
dial to "S." Hand setting the dial is not accurate.

FIG. 2: Unroll 4 to 6 inches of film and mark frame
with slight bump. Pencil point makes a good marker.

FIG. 3: Now thread the camera with marked frame
positioned accurately over the aperture in film gate.

■nHBHI

DISSOLVES
without a backwind

FIG. 4: Close the film gate, close camera, and run
off fogged leader film till footage dial reads "O."

GLEN H. TURNER, ACL

THERE comes a time in your life as a movie maker when it isn't
enough just to take good, sharp, steady record shots of the birth-
days, trips, outings, weddings and the like which occur in every-
one's life. You feel the urge to change things some in order to make
a better story.

Instead of just a trip up the canyon to gather autumn leaves, you
have the children get lost, meet a cowboy, find a cat or play they are
really live Indians. You try to show not only autumn's splendor
on the hills, but also Mother's frantic search through that beauty for
the lost children, her meeting with the helpful cowboy, and the happy
reunion with the children.

Just as surely as the time comes when animated snapshots do not
satisfy your creative urge as a cameraman, just so surely comes the
time when you seek to mold and temper the presentation of your
ideas. You will want to soften that abrupt jar between dissimilar
scenes. You will get the yen to try some fades, lap dissolves and
superimpositions.

But your camera doesn't have a backwind? So it can't be done?
Let's take a look and see. Basically all that is necessary is to run the
film through the camera twice — once for the one scene, a second
time for the scene that is to lap over. Simple enough, and the actual
step by step doing is only just a trifle more difficult than the above
would indicate. In the system which I shall describe there are a
number of points where errors may occur. But with a little care the
percentages are in your favor. Good results will justify the effort.

SET FOOTAGE INDICATOR

With the camera empty, run the footage indicator to "S" (see
Fig. 1 ) , using the spring motor and shutter release. This will give
an accurate starting point and will take up all the slack in the camera
gears. Do not set the footage dial by hand. You will notice that there
is a definite lag between the start of the spring motor and the time
the footage indicator begins to move.

Now unroll about 4 to 6 inches of film from the spool and mark
a frame on the film with a slight indentation (see Fig. 2). A pencil
or other moderately sharp instrument will do. Thread the camera
with this marked frame in the aperture at the film gate, as in Fig. 3.

KEEP ACCURATE RECORDS

Now close the camera door and run off the leader section of
the film, stopping exactly at zero (see Fig. 4). You are now ready
to take the first scene of your lap dissolve. It is well at this point
to jot down some information concerning the scenes in question and
the footages involved (see diagram).

Photograph your scene from a tripod in the usual manner. When
you reach the point where yojur dissolve is to occur, make a fade-
out (see Fig. 5). I do this simply by rotating the diaphragm ring
slowly toward the higher / numbers until it reaches the completely
closed position — or the smallest aperture obtainable. (This system is
at its best only when there is a considerable difference between the
working aperture and your smallest stop.)

Keep the camera running during this operation and note carefully
the exact footage at which the fade began and ended. Be sure to
record the footage involved in your notebook, as shown in Fig. 6.
By way of illustration, let's say your fade began when the indicator
registered 10 feet and ended at 11 feet. Put 10 in the start-fade col-
umn and 11 in the end-fade column.

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No. and descnpffon of scene.

makina dissoiu-es.

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Noia Tk -fikfeoof or scene 1 &. -flie wde/'n of
scene 2 bofft occur on -f fie same par4 of the -film..

SUGGESTED SCRIPT SYSTEM used by the author to indicate what scenes will
dissolve into each other and footage points at which fades begin and end.

Now, with the lens cap in place to guard against any chance light
leaks, run off enough footage to accommodate the scene which con-
cludes the dissolve. You can now go ahead and shoot the rest of the
film as you normally would.

SECOND RUN THROUGH

When the film is back on the original spool (or when the magazine
has been run back to the beginning), you are ready for the second
run through the camera. (If a 16mm. spool camera is used, some
method of getting the film rewound on the original spool would have
to be used.)

The footage indicator is again run to "S," as in Fig. 1. The film
is rethreaded as shown in Figs. 2 and 3. Then, with the lens cap
in position again, the film is run through the camera until it reaches
the footage point noted as the start of fade (in our illustration, 10
feet) . At this point remove the lens cap and set up for the scene you
wish to dissolve into. Start the camera and rotate the diaphragm
ring from the closed position up to the correct aperture for the scene
involved (or otherwise fade in). Try and gauge the speed at which
you fade in so that the second scene will reach the correct exposure
in the same length of film that was required to make the fade-out
of the first scene. In our example, this was from 10 to 11 feet. Keep
right on shooting until the second scene is completed, but take
care not to shoot beyond the amount of unexposed film you allowed
after the fade-out. Now replace the lens cap and run the film on
through the camera. It is now ready for processing.

EFFECTS UNLIMITED

You can make as many dissolves, of course, as the footage will
allow on one roll of film. All that is necessary is to shoot the fade-
out scenes on the first time through the camera, and then allow
enough unexposed film immediately following each of these to shoot
the fade-in scenes the second time you run the film through.

Does the foregoing seem complicated? It is really much simpler
to do than to describe. With a bit of careful planning it is possible
to create all the dissolves for an entire production on one roll of film.
After all, you need only the beginning and end scenes of each sequence
involved. The closeups, medium shots, changes of camera angles
within the sequence all can be taken on other film and spliced in.

There are all sorts of elaborations pos- [Continued on page 112]

Photographs by Vernon Castleton

FIG. 5: Effective fade can be made indoors by clos-
ing diaphragm from wide working f stop to smallest.

FIG. 6: Note footage mark as fade begins (10') and
as it ends (IT), and record both in your notebook.

FIG. 7: With lens cap on, run off blank footage for
second scene of lap. This is shot next time around.

Where there's the will, there's always a way, says this able

8mm. worker — outlining his system for making lap dissolves

Ernest H. Kremer, ACL

BRIDGE LAnP
ll PHOToFLOoo

200 WATT SPOT
6' H/6H

SCENE 17: Here is the key scene and setting in this
simple family mystery. The specially made still pic-
ture shows the lighting desired, the diagram how
to achieve it with one No. 1 flood and a small spot.

CAMERA TRICKS A LA CARTE

WILLIAM L. LUCAS

THERE are times in your movie making career when
it seems that there is nothing worth while left to shoot.
Christmas is over. Birthdays are in abeyance. It isn't
the season yet for vacations. Then is the time to exercise
your camera and ingenuity by dabbling around with
some simple trick photography. The more versatile your
camera, of course, the more intricate your tricks can be.
The following scenario, however, is written so that even
if your camera has none of the extra gadgets, you can
still get some interesting effects.

MIDNIGHT MADNESS

1. Fade in. Closeup of clock on mantel or desk. It
reads seven thirty. Fade out.

2. Fade in. Medium shot of living room. Within the
scene Dad is seated in an easy chair. Behind him is a
bookcase. At one side is an end table, at the other a
standing bridge lamp. He is reading, while son Johnny
is seated on the floor thumbing through the books in the
bookcase. Mom enters the scene, and both Dad and Johnny
look up at her. She motions with her hand for Johnny to
come.

3. Closeup of Mom as she says:
Title. "Time for bed, Johnny."

4. Semi-closeup of Mom smiling at Johnny.

5. Semi-closeup of Johnny sticking out his lower lip
and shaking his head. He says:

Title. "I want Dad to read me a story first."

6. Same setting as Scene 2. Dad is still seated in his
chair, Johnny on the floor and Mom standing patiently.
Mom looks at Dad. Dad looks at Mom and nods his head.
Then Dad turns to Johnny and says:

Title. "Just one story, Son. Pick out a book."

7. Medium shot of Johnny studying all the books.

Finally he pulls out one, stands up and takes it to Dad.

8. Same setting as Scene 2. Johnny crawls up on Dad's
lap. Mom shrugs her shoulders, then holds out one finger,
denoting just one story. She walks out of camera range.

9. Semi-closeup of Johnny on Dad's lap. Dad takes the
book from Johnny and studies the title.

10. Closeup of title of book, which reads: Ghost
Stories. (Make a paper cover for the book and print the
title on it. I

11. Same setting as Scene 9. Dad reads the title, looks
at Johnny, scratches his head and then shrugs his shoul-
ders as he opens the book. Johnny sits, all attention, as
Dad starts a story. Fade out. Fade in same scene. Johnny
now looks a little excited. Dad, too, seems nervously im-
pressed by the story.

12. Same setting as Scene 2. Johnny and Dad are in
same positions as in Scene 11. Dad closes the book, just
as Mom walks into scene motioning for Johnny to come.
She points at the clock.

13. Closeup of clock, which now reads eight o'clock.

14. Same as Scene 12. Johnny reluctantly gets off
Dad's lap. Dad keeps the book. Mom stretches out a hand
to Johnny, and the two walk out of camera range. Dad
studies the book he holds.

15. Semi-closeup of Dad studying the book. He hunches
down in his chair, opens the book and starts reading
again. Fade out.

16. Fade in. Closeup of clock which reads nine thirty.
Fade out.

17. Fade in. Same as Scene 15. Dad is now hunched
a little lower in his chair. The only light source is a bridge
lamp by his chair. Suddenly he jumps up, listens. Then
he springs from his chair and hurries out of camera range.

18. Medium shot of both [Continued on page 112]

Stop camera or reverse motion, split-screen or double exposure —

you can use them all in this simple script for the Ides of March

SIMPLE SPLIT-SCREEN EFFECTS

ONE of Hollywood's most intriguing special effects — the shot
of an actor chatting with a duplicate of himself — can be re-
produced by the amateur without elaborate equipment, pro-
vided his camera has a lens which can be unscrewed. In fact, a wide
variety of novel and fantastic photographic stunts are yours to
command by making use of this simple facility.

The gimmick which will accomplish these magic tricks for you
is a small pasteboard half-disc, mounted behind the lens of your
camera as shown in the illustration below. To discover whether your
camera can employ this system of split-screen filming, unscrew the
lens from the face plate of your camera. Is there a circular recess
behind the lens mount which would hold such a paper mask and
still allow you to screw the lens back all the way in its mount? We
stress the "all the way" because it is of prime importance. For, if
your lens cannot be returned fully to its normal threaded position,
the paper mask is then acting as a shim and the focus of your lens
will be changed.

A simple way to make such a mask without having to take measure-
ments of the opening is as follows: Lay a small piece of fairly heavy
paper over the recess which is to form the mount for the mask, and
shade the back of it lightly with a soft pencil. The rim of the circle
should show up as a dark line. Cut out the resulting disc and fit it to
the recess until you get a fitting that is snug. Now fold the circle of
paper along its diameter and paste it over on itself. If you make
the fold tightly, you will have made an exact semicircle which
will serve to divide your movie frame in half vertically, horizontally,
or at any angle you position it in the recess.

Before beginning your actual experiments in using the mask, it
will be well to get one bit of simple optical theory clearly in mind.
This is that the light rays carrying the image of your scene to the
camera lens will be crossed right-to-left and top-to-bottom as they
pass through that lens. In other words, the left side of your scene
will be imaged on the right side of the film, the top half of the scene
on the bottom half of the film, etc. Let's see what this means in regard
to mask positioning.

For the familiar before-the-lens positioning of masks as effected
by a mask, or matte, box (see Making a Mask Box, October, 1949).
it will mean nothing unusual in your placement of the obscuring
mask. Here, objects on the left of the scene will be blocked off by a

mask placed on the left
side of the mask box,
objects at the scene's
top will be obscured by
masking at the top.
Reason — the light rays
have not yet been
crossed by the lens.

Our system, however,
inserts the mask behind
the lens, and it is known
reasonably enough as
behind-the-lens mask-
ing. (It is, in passing,
the same system that is
used on the Cine-Kodak
Special, where thin
metal masks may be
inserted into a slot be-
hind the lens.)

In behind - the - lens

masking, all light rays

PAPER MASK shown is white for photo clarity. carrying the scene

In use, it is darkened to kill reflections. [Continued on page 117]

Bellphoto

Slip a paper mask behind your

lens, suggests this filmer, for
new dramatic punch in any picture

JACK E. GIECK

DUPtlCATE IMAGE, first of split-screen effects, has
one actor only. Dark line seen here is corner shadow.

VERTICAL SPLIT screen down center of street with a
tilted camera creates earthquake. Note neat joining.

HORIZONTAL SPLIT screen, filmed from different cam-
era distances, creates a giant Gulliver effect here.

TRY SUPER-TELEPHOTOS!

IRVIN L. OAKES

A FEW of you may recall a couple of photographs
which were published in The Reader Writes column
of the October, 1949, issue of Movie Makers.
You don't?- Well, I don't blame you. The two shots were
intended only as a slightly humorous record of the rather
considerable load of lenses and cameras I had taken on
a summer trip — and the very much smaller number of
them I had actually used.

In any case, the pictures apparently caught the eye of
our editor, especially the presence among my lenses
of three gigantic or super-telephotos. ( They were, actually,
lenses of 14, 10 and 6 inches in focal length.) What,
asked the editor, do you ever use these for? And if so,
how? The "what" answer is that I use them for bird (and
other wild life) photography, in which I am deeply in-
terested. The "how" answers we will come to presently.
Let's first examine these super-telephotos themselves. It
seems in good sequence, following the survey last month
on regular tele lenses.

HOMEMADE OUTFIT
My first experiments with long-focal-length-lens movies
were carried out with a homemade arrangement which
mounted an S1/^ inch //4.5 normal focus Kodak anastig-
mat lens in front of a Model K Cine-Kodak (see Figs.
1 and 2). I believe the two photos will give you a fair
idea of how the outfit was constructed. A rack and
pinion taken from an old still camera served as a focus-
ing arrangement for the telescoping box in which the lens
was mounted. On the rear of the main box, a smaller,
boxlike tube contained a ground glass positioned in the
same plane with the film in the camera gate. Thus, when

the subject was in focus on the ground glass, it also
would be in focus on the film. A small magnifier was
added to increase the clarity of the ground glass image.

FIRST FOCUS, THEN FIND

In use, the subject was first focused on the glass and
then sighted through the regular viewfinder. To outline
the finder field for this 8^ inch lens, I began with the
regular front finder unit for a 6 inch C-K lens and then
masked it down further to agree with the 8% inch cov-
erage. The lens adapter was left on the camera to make
a snug fit between camera and box, as well as to provide
this front finder unit.

The interior of the focusing tube was painted a dead
black, to reduce reflection and consequently heighten the
image brilliance. I soon found, however, that I was not
getting equal brilliance and clarity in the images recorded
on the film, and I traced this almost at once to the very
real need of a sunshade on the 8V2 inch lens. This acces-
sory, as you know, is generally built into the true tele-
photo but it was not a part of my long-focus lens arrange-
ment. A shoe repairman soon fixed this by whipping one
up out of sole leather, sewn into a slight funnel shape.

REFLEX FINDER NEEDED

Other, and insoluble, objections to this first outfit were
(1) that it was bulky and (2) that you had first to focus
through one tube and then sight through another — if the
bird was still there to sight on.

After a year or so of this, I decided to try some other
setup. Beginning with the camera, I selected the Cine-
Kodak Special because it was the only unit at that time

FIG. 1: At left, the homemade
combination by author of long
focus 8V2 inch lens and Model K
Cine-Kodak. A rack and pinion
(see extreme right) from still
camera provided focusing
mount.

FIG. 2: At right, a rear view
of combine shows ground glass
focusing tube aligned in same
plane as film in camera gate.

FIG. 3: Super-telephotos (I. to r.) are 14 inch f/5.6 Dallmeyer, 10
inch f/4.5 Eymax and 6 inch f/2.7 Baltar. Others are normal C-K teles.

FIG. 4: Special carrying case, with four lenses and extra film cham-
ber, weighs 15 pounds. The 14 inch Dallmeyer weighs 4 pounds itself.

Are birds and other wild life your filming fare?

Perhaps the super-telephoto is what you need

FIG. 5: Viewfinders (left) for
6 and 10 inch lenses were made
from base plate and front unit
of C-K lens adapters. No finder
for 14 tele was devised, since
centering was done with reflex
and movement was impractical.

FIG. 6: Sturdy tripod support
(right and below) is essential
in all telephoto shooting, su-
per or normal type. Lens above
is fast 6 inch f/2.7 Baltar.

FIG. 7: Heavy duty tripod shown is the Professional Jr. model offered by
Camera Equipment Corporation. Camart tripod is from Camera Mart. Inc.

FIG. 8: Weight of the 14 inch telephoto (4 lbs.) requires support
drilled into base of tripod. Tube on camera is finder magnifier.

offering a full-field, reflex focusing finder. (The Special
has since been joined in providing this often important
facility by the Pathe Super 16 — Ed.) This reflex finder
on the Special was important to me in two ways. First,
it provided an exact image on the ground glass of the
object as it would record on the film, thus eliminating the
problem of parallax on relatively small fields. Second, it
provided for visual focusing (on the same ground glass)
of whatever lens was in the taking position. This is
vitally important in working with super-telephoto lenses,
since their focusing scales are undependable and their
depth of field drastically shallow.

TELES: 2 TO 14 INCHES

To the Special, I added in due course the 2 inch //1.6,
2y2 inch f/2.7 and 4 inch f/2.7 telephotos from the
regular Cine-Kodak lens line (see Fig. 3). But it was
in the super-telephotos, solely for wild life filming, that
I was especially interested. My current lineup will be
seen in the same photo.

These are, reading from right to left from the C-K
lenses, as follows: a 6 inch f/2.7 Bausch & Lomb Baltar,
a 10 inch //4.5 Bell & Howell Eymax, both designed for
use on 35mm. movie cameras, and a 14 inch f/5.6 Dall-
meyer Dallon Tele Anastigmat. This last named objective
was made to cover a 5 by 7 inch plate on a still camera.
Fig. 4 shows the combination case for carrying the 2
inch and 4 inch Cine-Kodak lenses and, in the center
pocket, the Eymax and the Baltar. The Dallmeyer rides
in the separate cylindrical case, while the side pocket of

the main case carries an extra 100 foot film chamber.

Fig. 5 shows how I arranged viewfinders for these
super-telephotos. For both the Baltar and the Eymax I
used two old C-K lens adapters, taking them apart and
retaining only the base plate and the finder lens at the
top of each. Since the Baltar was 6 inches in focal length,
I simply used the mask which was designed for the Kodak
6 incher. For the 10 inch Eymax I removed the reducing
lens from the finder frame, re- [Continued on page 109]

Photographs by Irvin L. Oaki>s

FIG. 9: Umbrella and old cloths make a lightweight, collapsible blind
for bird and other wild life filming. Hole in top is for light and air..

Let's talk accessory lenses . . . their range,

their uses, and their design. Let's talk

about Kodak Cine Lenses . . . their adaptability

and value to your movie camera — for Kodak

lenses are not only an integral part of

Kodak-made photographic equipment but

also an increasingly popular aid to

better pictures with most movie

cameras. Read the details on these pages

. . . and then see your Kodak dealer.

KODAK CINE LENSES —
WIDE-ANGLES . . .TELEPHOTOS

Although there's scarcely a subject more
complex than the science of optical engi-
neering, there needn't be anything compli-
cated about the use of lenses — even precision
optical systems such as those built into the
Kodak Cine Lenses illustrated below.

In movie making, while extra speed and
extra close-up range are sometimes factors,
you generally select an accessory lens for
just one purpose — to vary the area which
will be included in your picture. If your
movie subject appears to demand more cov-
erage than would be provided by the stand-
ard lens, you switch to a wide-angle lens. If
the scene requires less coverage so as to put
more emphasis on its center of interest, you
switch to a telephoto lens.

And it's as simple as that!

NEW MOVIE HORIZONS AHEAD

You'll find scores of uses for the ability of
telephoto lenses to "pull in" distant subjects
to close-up proportions . . . and to magnify
small nearby subjects.

At sports events, for example, a telephoto

will carry you across a hundred tiers of
seats for thrilling side-line action. Or you
can film telephoto close-ups of unapproach-
able birds and wild life . . . capture them in
far greater detail, with far greater clarity
than was evident when you pressed your
camera's exposure button.

There are occasions, too, when, though
you could move in, you'll find it desirable to
stay well back . . . and rely on the magnifi-
cation produced by a telephoto for your
close-up effects. With your camera at a dis-
arming distance, you can film compelling
movie portraits — your subjects unflustered,
at their ease. You can move way back for a
better camera position ... or a more favor-
able angle . . . and by using a telephoto,
still capture the scene in close-up propor-
tions, with close-up detail.

And there are applications even at closest
range — camera-to-subject distances as short
as a foot or two. When your movie subject
is small — a delicate flower, for example, or
a minute machine part — you can move way
in for magnified movies of fields as small as
% inch in width . . . sharply detailed movies
that you can project many hundreds of times
real life-size.

Which telephoto to use? That depends on the

camera-to-subject distance . . . and the mag-
nification you want to give the central part
of the scene.

The tables at the right, showing the rela-
tive magnifications produced by the line-up
of Kodak Cine Lenses and the widths of field
obtainable at various filming distances, will
help you make a selection.

TOP-QUALITY EKTAR LENSES
LOW-COST EKTANON LENSES

There are two classes of Kodak lenses for
movie cameras — superb Kodak Cine Ektar
Lenses, the finest ever made for 8mm. and
16mm. cameras . . . and moderately priced
Kodak Cine Ektanon Lenses (formerly An-
astigmat Lenses), simpler in design and
construction but thoroughly suitable for all
but the most exacting movie work.

The name Ektar is Kodak's highest opti-
cal designation — a term reserved for systems
that qualify without reservation as of abso-
lute top quality. In every way, Kodak Cine
Ektar Lenses merit the distinction . . . meet
the highest standards of design, construction,
and performance.

You can select a full complement of
Kodak Cine accessory lenses from either
classification — focal lengths for 8mm. movie
cameras ranging up to 63mm. . . . for "Six-
teens," up to 152mm.

Details of Design

An actual cross sec-
tion of the Kodak
Cine Ektar 25mm.
f/1.4 Lens.

All lens rims are
blackened, mounts
are corrugated,
flanges are beveled,
glass-air surfaces
are Lumenized. Ev-
ery internal detail contributes to the reduc-
tion of flare, to the transmission of a maxi-
mum of image-forming light . . . helps you
to make better movies.

HAWK-EYE WORKS
HOME OF KODAK OPTICS

It is at the Hawk-Eye Works — the bright,
modern plant in the illustration above — that
Kodak Cine Ektar and^ktanon Lenses are
made. Hawk-Eye is the home not only of
lenses for photography ... all lenses for
Kodak products . . . but of precision optical
systems for science and industry as well.

Hawk-Eye is also the center for Kodak's
extensive research into optical science. Here,
for example, took place Kodak's develop-
ment of its famed rare-element glass — a
sandless glass that provides Kodak lens de-
signers with characteristics of lens perform-
ance never before obtainable . . . and that
helps fine Kodak optical systems to meet
their high quality standards.

The excellence of the facilities at Hawk-
Eye for optical research and precision pro-
duction . . . coupled with the skill of its per-
sonnel ... is in large part responsible for
the pre-eminence of Kodak optical systems
in every phase of photography.

KODAK CINE LENSES ... EASY
TO ATTACH . . . EASY TO USE

There's nothing difficult about attaching ac-
cessory lenses to movie cameras. In most
cases, you simply replace your camera's
standard lens with a Kodak Cine Lens
Adapter, screw the accessory lens into place
. . . and you're ready to make movies.

The only problem you're likely to en-
counter is in adjusting your camera's finder
to show the altered fields produced by lenses
of various focal lengths. Yet even this pre-
sents no difficulty with most movie cameras.
Cine-Kodak Magazine Cameras, for ex-
ample, have finger-tip adjustment mecha-
nisms built into the finder systems. The
Cine-Kodak Special II Camera uses clip-on

Kodak Cine Lenses for 8mm. Cameras

Fielc
at 2

Price*
including
Fed. Tax

Type

Focal Length
and Speed

Designation

Relative
Magni-
fication

Focusing
Range

Field Width

at Minimum

Distance

Width
5 Feet

Field Width
at 50 Feet

Wide-Angle**

9mm. f/2.7

Ektanon

0.7

Inf. to 4 ft

1 9 in.J

1 1 ft.

7 in.

23 ft.

$ 49.75

Standard

13mm. f/2.7

Ektanon

Inf

to 8 ft

t 31/2 in.t

8 ft.

2'/2 in.

16 ft.

20.65

Standard

13mm. f/1.9

Ektanon

Inf

to 1 2 in

3Vt in.

8 ft.

2/2 in.

16 ft.

42.50

Telephoto

25mm. f/1.9

Ektar

Inf

to 1 2 in

I'M* in.

4 ft.

3 in.

8 ft.

98.50

Telephoto

25mm. f/1.4

Ektar

Inf

to 1 2 in

l'Visin.

4 ft.

3 in.

8 ft.

195.00

Telephoto

38mm. f/2.5

Ektanon

Inf

to 1 2 in

l'/l6 in.

2 ft.

1 0/2 in.

5 ft.

9'A

56.75

Telephoto

38mm. f/2.8

Ektanon

Inf

to 24 in

23/. in.

2 ft.

9% in.

5 ft.

43.75

Telephoto

40mm. f/1.6

Ektar

Inf

to 24 in

2% in.

2 ft.

8/2 in.

5 ft.

128.50

Telephoto

50mm. f/1.6

Ektanon

Inf

to 1 0 in

,3/i6in.

2 ft.

VA in.

4 ft.

33/4

94.50

Telephoto

63mm. f/2.0

Ektar

Inf

to 24 in

P/i in.

1 ft.

8'/« in.

3 ft.

129.50

Telephoto

63mm. f/2.7

Ektanon

Inf

to 1 2 in

'/l6 in.

1 ft.

8V2 in.

3 ft.

5/2

76.00

Kodak Cine Lenses for 16mm. Cameras

15 ft.

$ 77.50

Wide-Angle

15mm. f/2.5

Ektar

0.6

Inf. to 6 in

2 'Mi in.

3 in.

30 ft.

Wide-Angle

1 5mm. f/2.7

Ektanon

0.6

Inf

to 6 in

3% in.

15 ft.

3 in.

30 ft.

58.50

Standard

25mm. f/1.9

Ektar

Inf

to 1 2 in

3 "/is in.

9 ft.

5 in.

18 ft.

98.50

Standard

25mm. f/1.4

Ektar

Inf

to 1 2 in

VVm in.

9 ft.

5 in.

18 ft.

195.00

Telephoto

40mm. f/1.6

Ektar

l'/2

Inf

to 24 in

5'/i6 in.

6 ft.

0 in.

12 ft.

128.50

Telephoto

50mm. f/1.6

Ektanon

Inf

to 1 0 in

1% in.

4 ft.

8/2 in.

9 ft.

5/2

94.50

Telephoto

63mm. f/2.0

Ektar

Inf

to 24 in

2'5/l6in.

3 ft.

9 in.

7 ft.

129.50

Telephoto

63mm. f/2.7

Ektanon

2'A

Inf

to 1 2 in

l'/« in.

3 ft.

9 in.

7 ft.

76.00

Telephoto

102mm. f/2.7

Ektar

Inf

to 36 in

2% in.

2 ft.

4 in.

4 ft.

139.50

Telephoto

102mm. f/2.7

Ektanon

Inf

to 24 in

VA in.

2 ft.

4 in.

4 ft.

8/2

84.50

Telephoto

1 52mm. f/4.0

Ektar

Inf

to 6 ft

3V, in.

1 ft.

6 in.

3 ft.

164.50

Telephoto

152mm. f/4.5

Ektanon

Inf

to 55 in

2s/i in.

1 ft.

6 in.

3 ft.

96.50

*Does not include adapter if required.
**For Cine-Kodak Magazine 8 Camera only — no

Hens
adapter required. |At a

s fixed focus —
distance of 1 ft

his figure is for full aperture.
8 in., which is permissible at f/1 1 or smaller.

front finders, one for each Kodak Cine Lens
of different focal length. Kodak's new "Re-
liant" Cameras have the field covered by a
38mm. telephoto shown by a smaller rec-
tangle in the finder. And for many earlier
model Cine-Kodak Cameras, there are
masks hinged to the lens adapters to adjust
the finder to the altered field size.

If your camera has no means for effecting
such adjustments, you can still use Kodak
accessory lenses conveniently by making
simple masks to alter the standard finder.
Mask down to Yz of the height and Yi of the
width to show the field of a 2-times tele-
photo; Yi to show a 3-times telephoto, yi to
show a 5-times telephoto; etc.

Is your motion-picture camera named here?

If it is, the adapter with which it's listed
enables it to accept a full complement of
Kodak Cine Ektar and Ektanon Lenses.

Type A Adapter — Cine-Kodak Model E
Camera, //1.9; B&H Filmo 70, 70A,
70B, 70C (serial numbers through
46121); Victor Model 3 (serial num-
bers through 36884); Victor Model 4
(serial numbers through 20025); Victor
Model 5 (through 52150).

Type C Adapter — B&H Filmo Autoload and
Autoload Speedster; B&H Filmo Auto-
master; B&H Filmo Models 141A and
141B; B&H Filmo 70, 70A, 70B, 70C
(serial numbers 54090 and up); B&H
Filmo 70D, 70E, 70F, and 70G; Bolex
H-16; Cinklox; DeVry DeLuxe; Key-
stone A-7; Victor Model 3 (serial num-
bers 36885 and up); Victor Model 4

(serial numbers 20026 and up); Victor
Model 5 (52151 and up).

Type D Adapter — Cine-Kodak Reliant
Camera; Bolex H-8; Briskin; Cine Per-
fex (Turret); Franklin; Keystone; Re-
vere 88; Revere 99 (Turret); Stewart-
Warner. These cameras accept three
Kodak Cine Ektanon Lenses directly
(without adapter): the 13mm.//2.7, the
13mm. //1. 9, and the 38mm. //2. 8.

Type M Adapter — Cine-Kodak Magazine 8
and Magazine 16 Cameras.

No Adapters are required to fit lenses to
Cine-Kodak Special II Camera.

Three Adapters are required to provide a
complete set of finder masks for Cine-
Kodak Special I and Model K Cameras.

Eastman Kodak Company, Rochester 4, N. Y.

TRABE-MARK

102

FLOOD LIGHT DIFFUSER

One of your recent discussions on
lighting stressed the pleasingly soft-
ened effect obtained through the di-
fusion of a flood-light source, espe-
cially when it is to be used in closeup
filming. This reminded me to send
you a description of my own solution
to this need.

Get an embroidery hoop and a
couple of stove bolts from the dime
store. Snitch a piece of silk from
Mother's rag bag, not too thick in
texture. An old silk stocking is ex-
cellent if still available. Stretch the
silk on the hoop and mount the hoop
at the front of your reflector — as
shown in the photograph. The ad-
justable feature of this mounting
gives it more flexibility than the clip-
on mounts generally offered commer-
cially.

Lewis C. Cook, ACL
Arlington, Va.

EXPOSURE TO ORDER

After many unsuccessful attempts
at filming parties and other unre-
hearsed, uncontrollable events, I have
concluded that there simply isn't time
for one man to juggle individual light
stands, run an exposure meter and
make good movies. Or maybe any
movies! But the use of one of the
currently popular lighting bars (to
which the camera is attached) can
overcome these difficulties — if you fol-
low my system.

The point is this. In using a light-
ing bar, the camera-to-subject dis-

APERTURE CONTROL RING

\FOCUSING RING

EXTRA F STOP SCALE
\ ATTACHED TO FOCUSING
RING

AUXILIARY aperture scale mounted on focus-
ing ring makes possible instant exposure cal-
culation when camera is used with lighting bar.

tance and the lights-to-subject dis-
tance are always identical figures in
any given setup. It stands to reason,
then, that the correct exposure for,
say, one 8-foot setup will be the cor-
rect exposure for all subsequent 8-
foot shots. And that a similar rela-
tionship will hold true at all other
distances. Therefore, these exposures
can he predetermined for all standard
distances.

If you will examine the sketch, you
will see quickly what this can mean.
The predetermined exposure figures
are noted on a strip of paper which
is taped to the focusing ring of the
lens. As you adjust the focusing ring
to the desired distance marking, this
ring automatically carries with it on
the paper strip the correct / number
for exposure at the distance set. This
/ number is immediately set on the
aperture control ring — and you're
ready to shoot.

Predetermining correct / numbers
is easy. Often you can obtain them
from a light-to-subject table which

Pictures, plans and ideas to
solve your filming problems

comes with the unit, or from else-
where. If not thus available, it is a
simple job to set up your lights once,
calculate all needed exposures once,
jot them down on the paper ring —
and then forget all about it.

William H. Ashcroft, ACL
Auburn, Maine.

COLOR VIEWING GLASS

When, recently, I purchased a
Spectra Color Contrast viewing glass,
I thought that it would only enable
me to see the contrast range of the
color scene in gradations of black
and white.

But I now find that by using a
pola-screen in conjunction with the
viewing glass I obtain a good re-
semblance of the finished color pic-
ture. Usually the changes seen as one
looks through a pola-screen are so
slight that it is difficult to imagine the
final result.

Nelson" Medina
Chicago, 111.

FOCUSING LOOP

As we all know, it's bad show-
manship to fumble around getting
one's picture into focus after your
show has started. But to adjust the
focus in advance usually means run-
ning off several feet of your film —
and then unthreading the projector,
rewinding and threading up again.
Unless, of course, your machine runs
in reverse.

My solution was to splice a short
length of spare title footage into a
loop, which I project for focusing.
With bright, contrasty titles this can
be done even with the room lights on.
Neal Dubrey, ACL
Durban, South Africa.

DIFFUSING SCREEN comprised of embroidery hoop, sheer fabric and couple of stove bolts is easy
to make, easy to use and wholly adjustable. Diffusers soften the light for pleasing portraits.

CONTRIBUTORS

The Clinic are paid from $2.00 to $5.00
for ideas and illustrations published.

Your contributions are cordially in-
vited. Address them to: The Clinic,
Movie Makers, 420 Lexington Avenue,
New York 17, N. Y.

Please do not submit identical items to
other magazines.

103

Photographs by Avon Productions

BATTLE OF PHILLIPI, consummately staged by Lou McMahon with cunning gained
in producing amateur Westerns, is action highlight of Shakespeare drama.

■ ATEST in a long and illustrious series of super-dramas to come
j from the cameras of David Bradley is Julius Caesar, by William
Shakespeare. Of the production Bradley said recently: "Al-
though I don't think we quite approach the bigness of Ben Hur, the
size of the picture is immense by any standards — amateur or pro-
fessional."

Massive Roman settings of incredible correctness were located
for Caesar at Soldier's Field, the Museum of Science and Industry
and the Elks National Memorial, in Chicago, nearby to Bradley's
home in Winnetka. Interior scenes were staged in the 16mm. com-
mercial studio of Paragon Pictures, at Evanston, while the battle
scenes were mounted at Indiana State Dunes Park. Lou McMahon
former head of Adventure Pictures, amateur Western unit, filmed all
of Julius Caesar and personally conceived and directed the battle
sequences.

Former Bradley epics include Treasure Island, Emperor Jones,
Oliver Twist, Peer Gynt and Macbeth, the last named a Ten Best
award winner in 1947.

The noblest

ROMAN

Two ex-amateurs, united in Signal Corps
camera work during the war,
produce "Julius Caesar" on Sixteen

PRODUCER BRADLEY, left, playing Brutus, and Grosvenor
Glenn, as the lean and hungry Cassius, in early scene.

SPLENDOR OF ROME is convincingly suggested by backgrounds located in Elks
Memorial (above). Soldier's Field and Science-Industry Museum, in Chicago.

THREE SPOTLIGHTS comprise only lighting on dramatic
closeup take of Brutus. Sound was both live and added.

104

•dp*

THE DEVIL'S PLAYGROUND (above), a huge mountain of shifting sand in the
Mojave Desert, is, like all dune formations, best filmed in the long light of
early a.m. or late p.m. Rock-bound trail (left) is Odessa Canyon to Mojave.

DESERT FILMING WAYS

FELIX ZELENKA

HIKING ON HORSEBACK provides action and interest in any desert
film. Shot above is at foot of Camelback Mountain, near Phoenix.

GOLDEN GHOST TOWNS impart an aura of romance to desert rec-
ords. This $90,000 bank was in Rhyolite on edge of Death Valley.

FORBIDDING, sinister and sometimes deadly to the
pioneers who first braved its barren wastes, America's
western desertland is today a rich mine of movie
material. Here, in the spring, dozens of tiny wild flowers
burst into prismatic color, while a blanket of white may
patchquilt the sandy floor in winter. Giant cacti form a
frame for even more gigantic rock sculptures, and sunsets
are beyond belief in this land of capacious splendor. It
has, as well, a romantic human interest all its own — from
the crude pictography of its earliest invaders to the
shambling but indomitable prospector of today.

GET OFF THE BEATEN TRACK
Movie makers who hug the main highways of the desert
country will miss much of its beauty and all of its wonder.
For it is along the dirt roads and old trails which lead
away from the highway that the true spirit of the desert
is found — and can be transmuted to film. Although state
legislation or private enterprise rarely appropriates suf-
ficient funds for paving even to important historical sites,
many of the dirt roads have been "improved." Generally
it is safe enough to follow these desert side roads if a few
simple precautions are taken. Here are basic ones drawn
from my own desert explorations.

A FEW PRECAUTIONS

First, it is advisable before following any one of these
roads to make inquiries on the spot as to its condition.
Furthermore, carry a good map of the locality you select
for exploration. Fortunately, little or none of the desert
now remains unmapped; therefore, fairly authoritative
topographical guidance should be available regardless
of your route.

Next, the desert explorer should supply himself with
water in sufficient quantity both for himself and for his
automobile. This is a must at all times. Do not attempt
to follow any road into the arid wilderness, no matter
how briefly you intend to stay, without including this
among your supplies.

Third, check your gas gauge before making a turnoff.

105

There's cine gold in them thar sand hills,

says this disciple of the purple sage

Photographs by Felix and Nikki Zelenk

ABANDONED MINES, often open to the sky for easy filming, surround the
deserted mining camps. At right is the giant Saguaro cactus, native to
Arizona. For dramatic silhouette effect, expose for sunset background.

Running out of gasoline in the desert can easily be as
disastrous as running out of water. If necessary, drive
down the highway a few miles until a service station
can be located, rather than to attempt exploring without
plenty of fuel. Better still, if you have no aversions to
carrying a few extra gallons in a can, this also is strongly
recommended. But make sure that the can is securely
capped, lashed in a spot where it will be shaded from
the sun and is allowed to ride the bumps with a minimum
of disturbance.

Next, inspect your tires for weak spots and carry a
good spare properly inflated. Tires that are badly worn
should be replaced with newer ones before starting. This
avoids the more arduous task of doing so in the desert
later — or riding back to civilization on a rim. Naturally,
a good jack, a tire pump and even a pressure gauge
should be standard accessories.

INDIAN PETROGLYPHS, or rock writings, are found throughout the
Southwest. The canny cameraman will bring them out with chalk.

A MODERN BURRO

To the desert miner, his donkey is a vital part of his
field equipment. He learns to care for his faithful com-
panion regardless of how stubborn the creature may be.
To the desert filmer his automobile will be his burro. And,
as the miner cares for his beast of burden, so must the
motorist care for his vehicle.

Although operating a car in the desert will require
little more than average driving skill, conditions occa-
sionally pose a problem for the unfamiliar. The worst of
these is driving through loose sand. If your car shows signs
of stalling in the loose soil, try not to give the engine
too much throttle. Shift to second or low and keep moving
slowly. To accelerate the motor under these conditions
is likely to bury the wheels in the sand and may cause
some other damage to your car.

Also, while most of the desert roads allow for average
tire pressure, a good trick in sand driving is to deflate
the tires to 15 or 18 pounds. Strangely enough, deflating
the tires to this degree will enable you to drive through
some of the heaviest sands in the desert with safety and
comfort. [Continued on page 117]

HERE LIES HI JOLLY, Syrian camel driver hired by the Union Army
during Civil War to test camels as transport in American desert.
The experiment failed and camels ran wild for years after.

106

MOVIES IN COLOR: 4

Exact data on the lamps you will use, where to place them, and how to

estimate exposure for indoor color filming . . . The last of a 4 part series

WHEN a movie maker gets into his stride, many
scenes will be photographed indoors, using Type
A Kodachrome or Tungsten Type Ansco Color
in the camera. His first and basic problem will be one
of simple illumination — or just getting enough light on
the subject to achieve adequate exposure. And, although
color emulsions are relatively slow in speed, this is not
too difficult a problem to solve with modern lighting units.

THE LAMPS FOR LIGHTING

Perhaps the most popular of these are the series of
bulbs known as Photofloods, with the light of which Type
A Kodachrome is specifically color balanced and under
which Tungsten Type Ansco Color may easily be exposed
with the use of the UV-15 filter, mentioned in the first
section of this discussion.

Photoflood bulbs for home use are made in two
strengths or sizes (No. 1 and No. 2) and in two types
in these sizes — inside frosted bulbs, which are to be
used in efficient metal reflectors, and the RFL-2 type (Re-
flector-Flood), which is approximately the same strength
but has a reflecting surface built into it. There is also
the RSP-2, a similarly built-in arrangement creating
a concentrated, spot-like beam, and the B-l and B-2
bulbs, which are of blue glass for use in combination with
daylight and Daylight Type color films. Ivlost recently
offered is the 375 watt medium beam reflector-flood
(PH-375) which creates a semi-spot beam with a spread
of 20 degrees. (For complete characteristics of all these
units, see Equipment Survey: 8 in December, 1949,
Movie Makers. — Ed.)

Of this assortment, the No. 2 units are most often used
for overall off-scene illumination, with the No. 1 bulbs
used on-scene to dress up the setting in ways which will
be discussed later. Here again, in the use of No. 2 flood
bulbs for overall illumination, the simplest arrangement
is the front-lighted one — which copies the same lighting
out of doors.

LAMP-TO-SUBJECT EXPOSURES
Because of its simplicity, exposures on such a lighting
arrangement may often be estimated by the lamp-to-sub-
ject system. A table of such suggested exposures, using
two No. 2 Photofloods in hard-surfaced metal reflectors,
follows. With the use of two RFL-2 bulbs instead, these
exposures should be increased by approximately % a stop.

RECOMMENDED EXPOSURES

Light to

Dark

Average

Light

subject

colored

in feet

subjects

3'/2

f/5-5.6

f/5.6-6.3

f/6.3-8

f/4-5.6

f/5.6

f/5.6-8

4V2

f/4

f/4-5.6

f/5.6

f/3.5

f/4 +

f/5.6 —

5</2

f/2.8-3.5

f/4

f/4-5.6

f/2.8 +

f/3.5

f/4 +

f/2.7

f/2.8-3.5

f/3.5-4

f/2-2.7

f/2.7

f/2.8-3.5

f/2

f/2.7 —

f/2.8 +

f/1.9 —

f/ 1.9-2.7

f/2.7

f/1.4— 1.6

f/ 1.6- 1.9

Depending, obviously, on an even spacing of one's
lighting units in relation to the subject, this method of
lighting and of exposure estimation is soon likely to be-
come monotonous. The cameraman will find that he has
splashed all his available wattage on the principal subject
without regard for naturalness in his effects. A beginning
filmer may take more than a few shots like this without
realizing that this kind of lighting leaves something to
be desired.

NATURAL EFFECTS NEEDED

But when he takes critical stock of his films he will
see that it is mostly a question of stepping up the pleas-
ingly subdued lighting effects found in the home under
normal conditions. A way must be found to reproduce the
same highlights and shadows, using lights ten times as
strong as the ordinary home lights. Estimating exposure
for such lighting is best done with the meter, following
the instructions which come with it and the special cau-
tions already discussed (see Movies In Color: 3, in
February) . All of the meter techniques recommended for
outdoor filming apply equally well indoors.

This natural effect is achieved by careful placing of
lights. If any floor lamps or table lamps are within the
field of view, the ordinary bulbs are first replaced by
No. 1 Photoflood (or tungsten) bulbs — proper precau-
tions being taken to see that the bulbs do not come in
contact with the lampshades. The positions of the on-scene
room lamps are then noted, and movie lamps are located
outside the scene so that their light might conceivably
be the light coming from the table or flood lamps.

LIGHTING YOUR SUBJECT

When a person is in the scene, he should be lighted
about the same as he would be under normal room con-
ditions. A strong key light may be located fairly high
and to one side, at an angle of about 45 degrees to the
subject. It should be augmented by a weaker fill-in light
shining from the other side of the camera, but very near
camera viewpoint and at about the eye level of the actor.
Some back lighting of the head and shoulders, on the
side away from the key light, will produce so-called model-
ing, while walls and other subjects in the background
may be lighted independently to a degree which is con-
sistent with your equipment and the mood of the scene.
(For additional discussion and illustration of this basic
lighting setup, see Three-Point Lighting in February
Movie Makers. — Ed.)

RSP-2 photospot lamps are excellent for lighting the
background, since they can project a strong beam of
light and still be positioned well outside the picture mar-
gins. RFL-2 flood lamps or No. 2 Photofloods in metal
reflectors are commonly used for this key and fill lighting.
Regardless of where it is used, each light should be
pointed and shifted about to determine the exact position
from which it will be most effective.

The lighting setup just described might be termed a
basic lighting arrangement. In using it as a basic lighting
formula, and in working out [Continued on page 108]

News of
the Industry

Up to the minute reports
on new products and
services in the movie field

Devrylite models DeVry's Devry-
lite 1950 16mm.
sound projector is available in three
different models. A single case model
with built-in amplifier, built-in detach-
able 6 inch Alnico V permanent magnet
speaker and a preview screen, total
weight 31 pounds, retails for $345.00.
A dual case Devrylite is offered at
$384.50 and includes an 8 inch loud-
speaker in separate case. A combination
of these models, at $394.50, includes
both the built-in loudspeaker unit and
the 8 inch speaker in a separate case.
Outstanding features of the new mod-
els are the newly designed amplifiers
and soundheads. The sound track is
scanned direct, and the photocell is of
the conductive type. Operation is on AC
or DC without the need of a converter.
Demonstrations may be arranged by
writing DeVry Corporation, 1111 Armi-
tage Avenue, Chicago 14, 111.

Platar lens T n e new Platar iy2

inch //3.5 fixed focus
lens is designed specifically for color
work in the 8mm. medium. Depth of
field scales are engraved opposite dia-
phragm settings. Priced at $24.95, tax in-
cluded, the Platar lens is manufactured
by Photographic Arts Manufacturing
Corporation, 49 West 19th Street, New
York 11, N. Y.

Mansfield editor Retailing at

$6.95, the
Mansfield Junior editor is complete with
splicer, viewer, rewinds (which rotate
the reels parallel to the editing board
rather than in the usual vertical posi-
tion) and film cement — all mounted on
a 24 inch hardwood board with scratch-
proof rubber bumpers. The editor, which
may be used for both 8mm. and 16mm.
film, will take a reel up to the 2,000 foot
size. It is manufactured by Mansfield
Industries, Inc., 1227 Loyola Avenue,
Chicago, 111.

Wollensak stations Fast service

was assured
owners of Rapax and Alphax shutters
when a dozen authorized Wollensak
shutter repair stations were set up re-
cently— nine in the United States, three
in Canada. The stations are Adam
Archinal Corporation, New York 1,
N. Y. ; Bab's Photo Repair Service, Bos-
ton, Mass.; Camera Service Company,
Atlanta, Ga. ; Cotterman Camera Re-

CINE-KODAK Special, with a Hart four lens
turret, Var-area viewfinder and electro-clutch
motor drive covering all speeds, is another
of Arthur H. Hart's specialized adaptations
for specific filming requirements. 400 foot
film capacity is a feature of this particular
adaptation, which was done for Stanford
University. Mr. Hart operates Cinematic De-
velopments and Cinechrome Laboratory, 2125
Thirty Second Avenue, San Francisco 16.

pair, Indianapolis 4, Ind.; 0. G. Heine-
mann, Inc., New York 1, N. Y,; Mack
Camera Service, Union, N. J.; Moler's
Camera Clinic, Wichita 2, Kans.; Rin-
toul Camera Repair, Milwaukee 2,
Wise; Howard Small, Philadelphia,
Pa.; Busch Precision Camera of Cana-
da, Montreal 1, Que.; General Photo-
graphic Products Company, Regina,
Sask; Keith and Adolph, Saskatoon,
Sask., Canada.

New Catalog Dowling's, 570 Fifth
Avenue, New York
19, N. Y., announces the availability of
their new 1950 photographic catalog,
containing twenty six illustrated pages.
The catalog is free on request.

Reels and Cans Reels and reel
cans for both
8mm. and 16mm. films are being mar-
keted by the Brumberger Company,
Inc., 34 — 34th Street, Brooklyn 32,
N. Y. The items are made of steel, and
cans are ribbed for stacking. Metal
"fingers" at the reel hub grip film in-
stantly for easy non-slip starting. Price
lists may be had from the manufacturer.

New publication In Photograph-
ic Science and
Technique, a supplement to the month-
ly PSA Journal, the Photographic So-
ciety of America offers for the first time
a publication outlet intended specific-
ally for papers and articles on scientific
and technical aspects of photography.
Paul Arnold, executive assistant to the
technical director of Ansco, heads up
the editorial staff.

Magnefilm recorder Movie - Mite

Corporation

has entered the magnetic film field with
the Magnefilm recorder — a synchronous
motor driven, 16mm. magnetic film re-
corder, housed in a single case. The
Magnefilm's film speed is 72 feet per
minute, synchronously driven by a spe-

107

cially designed sprocket drive. Its fre-
quency response is plus or minus one
decible, fifty to more than 10,000 cycles.
Full details on other quality specifica-
tions may be had from Movie-Mite Cor-
poration, 1105 Truman Road, Kansas
City 6, Mo.

Wilson Syncro-Meter The Wil-
son Syncro-
Meter is now available in four models.
Model 3-A, manually controlled, and
Model 3-B, automatically controlled,
are for silent projectors, while Model
3-C, manual, and Model 3-D, automatic,
are for sound projectors. Prices are as
follows: 3-A. $75.00; 3-B, $99.50; 3-C,
$113.00, and 3-D, $137.50. Conversion
of any model to any other model will be
done at the factory (Wilson & Garlock,
851 North Ogden Drive, Los Angeles
46, Calif.) for the difference in price
between the two models.

B & H lens series F°ur of a new

series of seven
lenses for 16mm. motion picture cam-
eras are now ready for delivery from
Bell & Howell Company. According to
the manufacturer, the new optics are
the most highly corrected lenses of
comparable focal lengths and apertures,
and the new series is said to be the first
offering a constant degree of magnifica-
tion from one lens in the series to an-
other. This is due to Bell & Howell's
departure from the conventional one
inch step between focal lengths. Instead
of adding a given increment between

&&*

%mA

% . V

CONSTANT degree of magnification from one lens to
another is offered by Bell & Howell's latest line of
lenses for 16mm. cameras. From left to right, the
lenses are: .7" T 2.7 (f/2.5) B & H Super Comat;
2" T 1.6 (f/1.4) Taylor Hobson Cooke Ivotal; 2.8"
T 2.5 (f/2.3) Taylor Hobson Cooke Panchrotal and
4" T 2.5 (f/2.3) Taylor Hobson Cooke Panchrotal.

vC\

MOVIE-MITE'S MAGNEFILM recorder, with a syn-
chronous motor drive of the sprocket controlled
film track, is designed for high fidelity sound.

108

MARCH 1950

each focal length, Bell & Howell has
multiplied by a given figure — for this
series, 1.4 — for their magnifying factor.
Calibrated in T stops and including
one wide angle and three telephoto
lenses, the new series now includes a
.7 inch T 2.7 (//2.5) B & H Super Co-
mat; a 2 inch T 1.6 (//1.4) Taylor Hob-
son Cooke Ivotal; a 2.8 inch T 2.5
(//2.3) Taylor Hobson Cooke Panch-
rotal, and a 4 inch T 2.5 (//2.3) Taylor
Hobson Cooke Panchrotal. Other focal
lengths to be available in the future
will be 1, 1.4, and 5.6 inch lenses. All
objectives are equipped with click
stops, in focusing mount and Filmoco-
ted. Further information may be had
from Bell & Howell Company, 7100
McCormick Road. Chicago 45, 111.

Keystone appoints G EUis Peck,

of Salt Lake
City, has been appointed factory sales
representative of Keystone Manufactur-
ing Company in the Rocky Mountain
states of Utah, Colorado, Wyoming,
Montana and Idaho. Jack Hartigan, of
Mount Vernon, N. Y., has been ap-
pointed district manager for New York
and New Jersey.

Heaterette ^ y°ur hands or your
camera tend to freeze in
outdoor winter filming, the Pocket Heat-
erette may be an answer. The gadget,
which fits into the palm of the hand,
generates an even temperature of 125°
for twenty four hours on just one fill-
ing of ordinary lighter fluid. As the va-
por from the lighter fluid passes through
the heating element, it ignites at 125°
- — not sufficient to maintain a flame, but
warm enough to provide comfortable
heat.

The Pocket Heaterette may be used
for your hands, or it may be carried in
your camera case to assure constant film
speed under all conditions. It retails
for $3.50 and may be had from David
T. Abercrombie Company, 97 Cham-
bers Street, New York 7, N. Y.

Mart Message The !950 edition

of the Mart Mes-
sage, published by the Camera Mart,
Inc., 70 West 45th Street, New York
City, is now ready for distribution to
advanced amateurs and semi-profes-
sionals.

Kodak adapter A new unit— the

Kodak 828 adap-
ter— makes color still work with Kodak
828 film a possibility with Kodak Re-
flex cameras. The accessory will fit
either Kodak Reflex I or II cameras. It
enables the picture taker to make eight
black and white pictures or eight 2 by 2
inch Bantam color slides from rolls of
Kodak Bantam 828 film.

Kodak also announces four new fil-
ters which extend the present series of
yellowish Kodak light balancing filters.

DeJUR-AMSCO'S Embassy Turret is an 8mm.,
three lens camera with a lifetime guarantee.

The filters— 81E, 81F, 81G and 81H—
are available in 2 and 3 inch gelatin
film squares. The 81E and 81H will be
available in Series V and Series VI Ko-
dak combination lens attachments. Each
of the new filters lowers the effective
color temperature of the exposing light
about 100° K more than the preceding
member of the series.

Weimet listings Weimet Photo
Products Com-
pany announces a new sixteen page cata-
log, listing many types and sizes of sensi-
tized materials as well as various items
of equipment. A free catalog may be had
by writing Weimet Photo Products Com-
pany, 514 West 57th Street, New York
19, N. Y.

Reflex finder Designed for the
Cine-Kodak Special,
a new reflex finder magnifier is said to
offer high magnification for both com-
posing and critical focusing and an
offset feature that allows its use with
either 100, 200 or 400 foot film chain-
bers. Though the magnifier is rigidly
attached to the camera, it is easily re-
movable. Image is erect and corrected
from right to left. For full information
and prices, write the manufacturer, Par
Products Corporation, 926 North Citrus
Avenue, Hollywood 38, Calif.

Flash numbers New flash expo-
sure guide numbers
for both G.E. and Sylvania lamps for
use with still Kodachrome film, Type A,
have been released by the Eastman Ko-
dak Company. The new numbers are
based on the use of the lamps in re-
flectors of Kodak manufacture. When
the reflector is not of Kodak manufac-
ture, experimentation may reveal slight
variations in exposure to be necessary.

Turret 8 Latest addition to Dejur-
Amsco's line of 8mm. movie
cameras is the Embassy three-lens tur-
ret camera, with six speeds up to 64
frames a second. The camera is a maga-
zine loading one, with a 10 foot run
on one winding. The Embassy Turret

comes equipped with either a coated
f/2.5 fixed focus lens at $124.50, a coated
//1.9 fixed focus lens at $134.50, or a
coated //1.9 lens in focusing mount, at
$146.50.

A Dejur lifetime guarantee covers the
Embassy Turret, which is manufactured
by the Dejur-Amsco Corporation, 45-01
Northern Boulevard, Long Island City
1, N. Y.

Radiant news Radiant has perfec-
ted a new Vyna-
Flect fabric that, it is reported, will not
burn or become mildewed and is actu-
ally washable. The company also an-
nounces an electrically operated unit in
sixteen sizes, known as the Radiant Au-
tomatic. The screen features a quiet re-
versible AC motor and the new Vyna-
Flect fabric. Full information on both
fabric and screen may be had by writ-
ing Radiant Manufacturing Corpora-
tion, 2627 West Roosevelt Road, Chi-
cago 8, 111.

Radiant has purchased all the tools,
dies and patents of the Albert Special-
ty Company and has formed an affiliate
organization which will be known as the
Radiant Specialty Corporation, 1225
South Talman Avenue, Chicago 8, 111.
Albert manufactured tripods, easels
and printers.

Screen Gems The 1950 program

of Screen Gems,
Inc., national 16mm. distributors, was
recently released. Features include four
Blondie family pictures and fifteen
Westerns. Favorites from past years and
several serials are other highlights of
the listings. The films are distributed
through dealers by Screen Gems, Inc..
729 Seventh Avenue, New York 19, N.Y.

Movi

lor: 4

les in co

[Continued from page 106]

from it to other effects, there are a
number of interesting points to keep in
mind.

POINTS TO REMEMBER

1. Having the key light too high il-
luminates the hair of a subject unduly
and causes a distinct shadow to be cast
under the nose and chin. Light should
not. be so high that the shadow from
the nose extends into the line of the lips.

2. Using a fill-in light on the other
side (the shadow side) softens the
shadows cast by the key light. It also
highlights the eyes, which is very neces-
sary in closeups. The ratio between the
fill and the key light should never be
more than 1:4 for color. In fact, it is
considered that 1:3 gives sufficiently
modeled effects, and 1:2 constitutes
standard practice in most studios.

3. Working with just one key light
is thought to be best because it makes
for simplicity in the lighting scheme.

MOVIE MAKERS

109

If two or more lights are shining on a
person's face from the key light direc-
tion, they will cast multiple shadows —
one of the worst of the lighting sins.

4. Placing the fill-in light at about
the eye level of the subject will create
desirable catchlights in the eyes and it
also tends to minimize cross-shadows
from the subject's nose. If the fill-in
light is much to the side, the cross-
shadows will be noticeable, especially
with a ratio of 1:2.

5. Whenever it is possible to do so.
move main objects and persons away
from background walls. If this is not
done, there will be a shadow cast on
the wall for each one of the front lights.
With lights kept high and main sub-
jects away from the walls, any shadows
which are cast will not be seen. Floor
lamps and table lamps, above all.
should not cast shadows — especially
multiple shadows on back walls — as
this shows that they are not really the
source of illumination which they are
supposed to be.

6. Back lighting will be ineffective
if it is seen from camera viewpoint
against a highlighted background. For
this reason, background walls should
be held to a lower key in the areas back
of a subject's back lighted head and
shoulders. This will provide the separa-
tion or modeling which is probably the
most artistic tool a cameraman has at
his command when arranging lights for
interior filming. Much time and care
should be devoted to "painting in" the
accented back lighting, for it will al-
ways give foreground objects in a scene
roundness and reality.

7. Avoid "arty" or bizarre lighting.
even though you may feel the need to do
something different with your lights.
The first thing an inexperienced camera-
man wants to do is to throw light up
from floor level, thus casting grotesque
shadows on the faces of his actors. Or
he might go in for contrasts in side
lighting, just to be different. These are
intentional sins. But an unintentional
and equally horrendous sin is commit-
ted when key lights are clamped to
chair backs one on either side of the
camera. The result, which is harsh and
"hot" in the extreme, has been aptly
tagged "Third-Degree" lighting.

A good rule might be to avoid posi-
tioning your lights too immediately in
any "handy" place. Instead, try to for-
get the lights for the time being, while
you think of the lighting. If you decide
in advance where your highlights, shad-
ows, top light and modeling light should
be on the subject, then all you have to
do is to place the lights in such a way
that the predetermined effects will be
created.

(Movies In Color: 4 concludes a
complete discussion of color filming —
indoors and out — begun in December,
1949, and published serially since then
— the Editors.)

Try super-telephotos!

[Continued from page 99]

placed it with clear glass screened by
a 6 inch lens mask and found that it
gave me exactly the area covered by
the 10 inch objective. The base plate
is placed over the adapter pins on the
turret and the lens mount holds it firm-
ly in place. No finder is needed for the
14 inch Dallmeyer, since original cen-
tering is done with the reflex finder of
the Special. After that, it is quite im-
practical to follow movement with that
much magnification.

STURDY TRIPOD NEEDED
It should go without saying that no
one of these lenses can be used except
on a tripod — and the sturdier your
tripod the better. I have two such
heavy-duty units. One is the Camart
(not pictured), on which I can use
successfully either the 6 inch or 10
inch lens (see Figs. 6 and 7). The other
is the Professional Jr. model which, with
its specially constructed support at-
tached to the tripod base, is a "must"
for the 4 pound weight of the 14 inch
Dallmeyer (see Fig. 8).

Also, for bird and other wild life
filming, you will find that you get your
best results in shooting from some kind
of blind. Fig. 9 shows a ramshackle-
looking but quite handy arrangement
built around a large umbrella. It has
a number of advantages. First, it is
easily collapsible: second, it is rela-
tively light in weight and. finally, its
height can be varied by the length of
center pole supporting the umbrella. I
also have used a small, three-sided tent,
either in its native state or camouflaged
to look like a shock of cornstalks.

NEAR RESULTS BEST
Those amateur filmers who want to
try their luck at super-telephoto work
should keep in mind that these lenses
are not intended for extreme long-range
work. They are at their best when
trained on relatively small subjects 150
feet or less from the camera. This also
was true with my original long-focus
lens setup. An example of its work will
be seen in Fig. 10, in which the dragon-
fly was filmed at a distance of 8 feet.
As I went from this outfit to the true

For the most
rewarding results

from
your
camera

Here is the ex-
pert know-how
on those key
techniques that
lift movies from
good to superb.

Painting with

Light by John Alton

Tells you how to achieve the
beauty and enchantment of the
best photography

THIS NEW BOOK SHOWS IN
DETAIL HOW TO LIGHT-

Peop/e:

how to light different types of faces;
lighting on clothes; photographic val-
ues of make-up; getting the right light
on people out of doors.

Special scenes:

Interiors and exteriors:

Kevieivers say: "The most imagina-
tive and instructive book I have
seen," "A must for professionals and
all serious amateurs."

The author is a top-rating Holly-
wood expert— a Director of Photog-
raphy whose pictures for MGM, Paramount,
Eagle Lion, etc. have been cited by the
critics as "some of the most exciting photog-
raphy in cinema annals."

295 illustrations of equipment and
how to place it.

.SEE IT ON APPROVAL

THE MACMILLAN CO.

60 Fifth Ave., New York 11

Please send me a copy of Painting
with Light on approval. I will either
remit $6.00 or return the book at
the end of ten days.

Signed

FIG. 10: Closeup of dragonfly was made with
8 ' 2 inch long-focus lens 8 feet from subject.

Address.

MARCH 1950

Classified advertising

10 Cents a Word

Minimum Charge $2

EQUIPMENT FOR SALE

H BASS SAYS : If you would trade, or buy, or
sell. At Bass you'll always do right well. — CHARLES
BASS, President, 8mm. Universal Cine Master, Wol-
lensak f/2.5, case, like new, $37.50; 8mm. Revere
88, Wollensak //1.9, telephoto attachment, wide
angle attachment, $62.50; Bolex H-8, Cooke //2.5
fixed focus with lap dissolve, 1^4" Berthiot //3.5,
3" Berthiot //3.5 case, $245.00; factory new 200
ft. magazines for Cine Special, black, $275.00;
16mm. B. & H. 70D, 20mm. f/2.9 coated, 1"
Plasmat //1. 5 wide angle, 2" Cooke //3.5, case,
$235.00; 16mm. Zeiss Movikon, Sonnar //1.4,
$325.00. We buy 'em, sell 'em, and trade 'em.
Complete stocks of new Cine Equipment, all
makes. BASS CAMERA COMPANY, Dept. CC,
179 W. Madison St., Chicago 2, 111.

■ GUARANTEED fresh F-A-S-T Pan Film, $1.65;
25' (8-8mm.), $1.65 25' 8mm. color, $4.10; 25'
8mm. color base, $2.25; 100' 16mm. outdoor film
(anti-halo), $3.45. Free machine processing. MK
PHOTO, 451 Continental, Detroit (14), Mich.

■ MAKE TITLES for MOVIES and SLIDES EASILY!
Over 150 reusable, one inch pliable letters, numbers
and symbols. Adheres on contact to non-porous sur-
faces, glass, etc. No special apparatus necessary.
Complete, $3.45. CLINGTITE PRODUCTS COM-
PANY, Dept. L, 7 S. Dearborn St., Chicago 3, 111.

■ SPECIAL 16mm. EQUIPMENT designed and built.
Synchronous motors installed. Synchronous pro-
jectors and FILM PHONOGRAPHS for sale or
rent. M. W. PALMER, 468 Riverside Drive, New
York 27, N. Y.

■ CINE-KODAK Special I with 100' magazine and
f/1.9 lens, $400.00; with 200' magazine and //1.9
lens, $450.00; with two 100' magazines, 4 lenses
and case, $750.00. All with frame counter — guar-
anteed. HENRY HERBERT, 485 Fifth Ave., New
York 17, N. Y.

■ AKELEY NEWSREEL CAMERA (35mm.) with
case, matched 2 inch lenses, Gyro tripod, two maga-
zines. First $425 takes. HARRY MAMAS, 17 Adams
St., Medfield, Mass.

■ SAVE WITH US. Just a few of our bargains.
Electro 16mm. mag. w///3.5, w/battery & case,
$37.50; 16mm. Revere turret mag. w///2.5 coated
Raptar, $110.00; Micro 16, $12.00; Argoflex, $50.00;
30x40 beaded screen, $7.50; 40x40 beaded screen,
$8.50. CAMERA SHOP, 760 Broad St., Providence
7, R. I.

■ FOR SALE : 2000 foot 16mm. reels and cans,
shelf worn, $3.50 post paid. CASTLE travel film
shown once, $10.00 each. A. G. CHITTICK, Frank-
fort, Indiana.

■ AURICON CINE-VOICE sound camera complete
with amplifier, batteries, mike, cables, case, $695.00.
Bolex H-16, 1" //1.5 lens and carrying case, like
new, $249.00. Kodak Model K, 1" //1.9 lens and
case, excellent, $95.00. Colortran converters boost
ordinary 150 watt bulbs to more than 750 watts on
house current, $27.50. THE CAMERA MART, Inc.,
70 West 45th St., New York, N. Y.

■ WORLD'S LARGEST LENS SELECTION— For
those gorgeous Spring and Summer movies. COATED
FOR 8MM. CAMERAS: 9mm. //2.5 Wollensak wide
angle universal focus, $43.75; %." f/1.9 Berthiot
Cinor (focusing mount), $29.50;" 1%" //3.5 tele-
photo anastigmat (3 time magnification) in focus-
ing mount, $36.50. IN FOCUSING MOUNTS COATED
FOR 16MM. CAMERAS: 17mm. //2.7 Carl Meyer
wide angle, $49.50; 1" //1.9 Wollensak Raptar,
$58.09; 2" //2 Schneider Xenon. $99.50; 3" //2.8
Carl Zeiss Tessar, $109.50; 6" //5.5 Schneider Tele-
Xenar, $124.50. These are only a few of our fine
lens values. We have the lens you want. 15 day free
trial. Satisfaction guaranteed. Send this ad for free
catalog and lens list. BURKE & JAMES, Inc., 321
So. Wabash Ave., Chicago, 111. Att : M. A. Milford.

FILMS FOR RENTAL OR SALE

■ USED and New Castle films. 8-16, silent and
sound. Send for lists. ALVES PHOTO SERVICE,
Inc., 14 Storrs Ave., Braintree 84, Mass.

■ CLEARANCE Sale: 200 ft. 8mm. subjects, $2.50;
400 ft. 16mm., $4.00. Cartoons, News, Sports, etc.,
like new. Send check or money order. SAMSON'S,
Pine & Portland Sts., Providence 7, Rhode Island.

■ CLEARANCE: Kodachrome Travel Shorts, 100'
16mm. silent, $11.00 each. Write for list. WURTELE
FILM PRODUCTIONS, Box 504, Orlando, Florida.

H CASTLE Films for sale; 8mm. -16mm. silent and
sound; complete stock, orders shipped day received
by STANLEY-WINTHROP'S, Inc., 90 Washington
St., Quincy 69, Mass.

■ UNUSUAL films: 8mm. 50 ft., $2.75; 16mm. 100
ft., $6.00; 10 color slides, $2.50. Send for free list.
SHAWMUT PRODUCTIONS, P. O. Box 132, Elm-
wood Station, Providence 7, R. I.

■ FASCINATING films; 8mm. 50 ft., $2.75; 16mm.
100 ft. $6.00; 10 color slides, $2.50, with viewer,
$3.25. Send for free list. PROVIDENCE FILM EX-
CHANGE, P. 0. Box 157, Olneyville Station, Provi-
dence, R. I.

■ UNUSUAL MOVIES— sample reel 8mm., 50 ft.,
$2.75; 16mm., 100 ft., $6.00 w/SOF, $8.75. Special
— new 8mm., 50 ft. cartoons, travels, etc., $1.00
each, 6 for $5.00, all known brands. Send for
complete free list. CAMERA SHOP, 760 Broad
St., Providence 7, R. I.

■ "1950 ROSE PARADE" Kodachrome movies,
special edition: 16mm., 200', $27.50; 8mm., 100',
$14.75. Deluxe edition, 16mm., 400', $55.00; 8mm.,
$27.50. NORM JACOT, 653-26th St., Manhattan
Beach, Calif.

| MOST complete library of shorts in Italian and
English on Italian life, culture and folklore. Lists.
MEDITERRANEAN FILMS, Box 55 Times Plaza,
Brooklyn 17, N. Y.

B BIGGEST 16mm. sound film bargain ! Twelve
good used 100' "Soundies" musicals, $9.95 plus
postage. Hundreds of titles available at $1.49 each.
Write for our big list. BLACKHAWK FILMS, De-
partment MM, Davenport, Iowa.

■ NATURAL COLOR SLIDES, Scenics, National
Parks, Cities, Animals, Flowers, etc. Sets of eight,
$1.95; sample & list 2S£. SLIDES, Box 206, La
Habra, Calif.

■ SOUND, SILENT MOVIES; lists Sf; projection
Kodachrome sample (silent) "Washington. DC"
SI. 00; Natural Color Slides — views, paintings, etc.,
lists 3(f, sample slide 35(t. GALLOWAY FILMS,
3008-5th St., SE, Washington 20, D.C.

■ 1950 ROSE PARADE MOVIES offered again by
popular demand. Thrilling spectacle in Kodachrome.
Beautiful girls! Colorful floats! 200' 16mm.. $29.95,
100' 8mm., $14.95. AVALON DAGGETT. 441 North
Orange Drive, Los Angeles 36, Calif.

EQUIPMENT WANTED

| CASH IS WAITING for your photographic equip-
ment, movie films, outdated films, what have you?
If it is a large job lot or just a $1.00 item, we are
waiting to hear from you. Trades accepted. Write
to CAMERA SHOP, 760 Broad St., Providence 7,
R. I.

FILMS FOR EXCHANGE

■ EXCHANGE or buy used movie films. Mention
your MM. Write GALLARD'S EXCHANGE CLUB,
29 Coe Ave., Hillside 5, N. J.

MISCELLANEOUS

■ KODACHROME DUPLICATES: 8mm., or 16mm.,
11£ per foot. Immediate service on mail orders,
HOLLYWOOD 16MM. INDUSTRIES, Inc., 6060 Hol-
lywood Blvd., Hollywood 28, Calif.

■ SOUND RECORDING at a reasonable cost. High
fidelity 16 or 35. Quality guaranteed. Complete stu-
dio and laboratory services. Color printing and
lacquer coating. ESCAR MOTION PICTURE SERV-
ICE, Inc., 7315 Carnegie Ave., Cleveland 3, Ohio.
Phone: Endicott 2707.

| TWO 4x5 bl. & w. enlargements and negative
from your moviefilm, or one colorprint from color-
film. Send frames and one dollar. CURIOPHOTO,
1187 Jerome Ave., New York 52.

| RIFLES, shotguns, pistols — Firearms of all types,
all makes taken on trade towards ALL photographic
equipment. Highest trade-in allowance at NATIONAL
CAMERA EXCHANGE, 86 So. Sixth St.. Minneapolis
2, Minnesota. Authorized agents for Eas"man, Argus,
Revere, Bell & Howell, Keystone. Graflex — in fact
every great name in photography. Trade your fire-
arms on photographic equipment now.

| NO negative? ? ? Send picture or transparency
and $1.00 for new negative and 2 5x7 enlargements.
CURIO-PHOTO, 1187 Jerome Ave., New York 52.

H PROCESS your own movie film. Easy instructions,
formulae, 25c1. SUPERIOR BULK FILM CO., 103
S. Wells St., Chicago 6, 111.

■ COMPLETE file MOVIE MAKERS since 1926.
Most years in binders. Make offer; with, without
binders. ALDEN E. MILLER, 3212-34th Ave. So.,
Minneapolis 6, Minn.

FIG. 11: Baby woodpecker 30 feet away was
caught in closeup with 14 inch telephoto.

telephotos, I found that the same con-
ditions obtained — only perhaps a little
more so. The best range for the 14
inch Dallmeyer, for example, proved
to be up to 50 feet from the camera —
unless it was trained on a rather large
field. Fig. 11 shows the excellent results
obtained on an immature woodpecker
pictured at 30 feet from the camera.
The 10 inch Eymax, specifically de-
signed for motion picture work, may
be more highly corrected than the Dall-
meyer. In any case, I find that it records
with acceptable sharpness all scenes up
to 150 feet away. Fig. 12, of the great

FIG. 12: Medium shot of great blue heron
was made with 10 inch tele at 150 feet.

blue heron, was filmed at slightly more
than that distance. Within the 50 foot
range it records closeups which com-
pare in definition to anything shot with
the shorter, standard telephotos.

The 6 inch Baltar I value for its un-
usually high speed (at that focal
length) of //2.7. Since birds always
nest in the shade, this considerable ad-
vance in speed over the //4.5 of the 10
inch lens often means the difference be-
tween getting a nesting sequence and
not getting it. It also is excellent for
the soft light of early morning, and
even at full aperture returns good re-
sults.

So there you are. This ought to be
enough to give you an idea of the in-
triguing opportunities in super-telephoto
filming. And yet, if you're thinking of
going into it on this scale, perhaps one
further item should be included on the
agenda — the weight of the outfit. Here
it is, by units: camera, lO1/^ pounds;
tripod, 14 pounds; carrying case with
four lenses and extra film chamber, 15
pounds. Add to that the binoculars, the
blind and your lunch — and you'll see
it's not a light undertaking.

MOVIE MAKERS

Late releases

Features and short subjects
for 8mm. and 16mm. screens

■ Undercover Man, six reels, 16mm.
sound on film, black and white, may
be obtained from Commonwealth Pic-
tures Corporation, 723 Seventh Avenue,
New York 19, N. Y. William Boyd as
Hopalong Cassidy is on the Mexican
border this time, with his pals Cali-
fornia and Breezy, as played by Andy
Clyde and Jay Kirby. Gold thieves and
cattle rustlers are the sinister elements
involved, and they keep the action ac-
celerated until their eventual downfall.

Ill

■ Waverley Steps, running time 32
minutes, 16mm. sound on film, black
and white, is distributed by British In-
formation Services, 30 Rockefeller
Plaza, New York 20, N. Y. A different
approach marks this portrait of Edin-
burgh— a travelog in which the camera
does all the traveling, while the dialog
is restricted to conversations between
normal citizens about minor human in-
cidents. Through a period of twenty
four hours, the camera watches the citi-
zens of Edinburgh as they live. And,
unobtrusively, a lot of the city is shown.

• Hurry, Hurry!, one reel, black and
white, is available in all standard sizes
through photographic dealers. It is dis-
tributed by Castle Films, division of
United World Films, Inc., 1445 Park
Avenue, New York City. W. C. Fields
rides an auto to glory as he tries to
rush a lady to a hospital, on the as-
sumption that she is expectant. Mr.
Fields has a manner with cars that is
thoroughly hilarious, though his tech-
nique might not be recommended by
the AAA.

"EMCEE"

(Master of Ceremonies)

Announcer System

Can be used with
regular Movie-Mite
10" Auxiliary Speaker

Commentator
can adjust
his own tone
and volume

Perfect for
your Slides or
Silent Film

... a simple, foolproof announcer system for
many uses ... in school rooms, business and
women's clubs, sales meetings, outdoor gather-
ings, the nursery, sports tournaments, and
above all . . . to help you put a professional
touch to your silent movies and 2x2 slides. It
even has a plug-in for a turntable.
All in one case, amplifier and microphone fit pS^f^F
in back of speaker case . . . weighs only 16 '^^f^
pounds . . . has the famous Movie-Mite four-
watt, miniature tube amplifier . . . attached
microphone . . . tone and volume control . . .
ten-inch speaker ... all cables included . . .
beautiful alligator, brown leatherette covering.
Write for literature. . . , See your photo-
graphic dealer today for a demonstration.

TWO
SPEAKERS
can be used,
50-foot cable
on each

JVZumcuk FILM CABINETS

KEEP FILMS SAFE

PERMANENT FILM PROTECTION

ALL STEEL
KEY LOCKS
FIREPROOF

OVER 50 MODELS

INDEXED
DUSTPROOF
ALL WELDED

FILMSTRIPS

MODEL MF-6

TYPICAL 16mm CABINET

Floor model for varied library— capacity of 120 reels
of varied sizes and 100 filmstrips.

Holds over 300 film-
strip cans, each in
its own place and
indexed. Six draw-
ers — adjustable di-
viders.

WRITE FOR CATALOG
NO. 17

COMPLETE LINE 16MM FILM

FILING AND HANDLING

EQUIPMENT.

J^vthajSbi

PRODUCTS CORP.

330 W. 4 2 ST. NEW YORK 18, N. Y.

112

MARCH 1950

BIGELOW
MOTION PICTURE FILM

COMPENSATED IN PROCESSING
TO CORRECT EXPOSURE ERRORS

Do All
A.S.A. 40-24

OUTDOOR
A.S.A. 16-6

25 ft. 8-8mm.

$1.94

$1.35

100 ft. 16mm.

4.45

3.45

50 ft. 16mm.
magazine

3.25

2.75

ABOVE PRICES INCLUDE
24-HOUR PROCESSING SERVICE

Bigelow Film is New, Fresh
Stock. Not War Surplus

PROCESSING SERVICE ON
FILM OTHER THAN OUR OWN

25 ft. 8 mm. . $ .50

100ft. 16mm. . 1.50

50 ft. mag. . . .75

(if we keep magazine)

1.00

(if we return magazine)

California buyers please include sales lax.

MAIL ORDERS GIVEN PROMPT SERVICE

The snap and sparkle associated with
professional motion pictures are yours
when you use NEW COMPENSATED

6449 Regent St. Oakland 9, Calif.

POWERFUL 138MM LENS $39.50

Very powerful 5'/2" F3.5 coated. In our

focusing "C" mounts fits I6MM cameras;

Victor. Bell & Howell. Revere 16.

Keystone, Cinclox. DeVry, etc.

Sharp and color corrected . . .

Mailed insured with dust cap.

We can adapt to other cameras also

CENTURY PRECISION SPECIALTIES CO.
11960 Wilshire Blvd., Los Angeles 35, Calif.

DISTINCTIVE EXPERT

TITLES and EDITING

For the Amateur and Professional

16 mm. — 8 mm.

Black & White and Kodachrome

Price list on request

S T A H L

EDITING AND TITLING SERVICE
33 Wert 42 St. New York, N. Y.

•MM— 1*MM
KOOACHROMB
BLACK V WHITS ,

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:nlarqedto16.
SSZ 16MM Seduced to 8,
■ Free Catalog on Request,

^^NATIONAL ClfifE LAB

BOX 44-25 • WASHINGTON 17, DC

HOME
MOVIES

DESIGNED
TO DELIGHT!

HELENE DIST. CO.

182 Peoce St. Prov.,

The
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New 100 fl. re-
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FREE LIST
ON REQUEST

Dissolves without
a backwind

[Continued from page 95]

sible through the use of this technique.
Certain effects, such as split-screen
multiple exposures, may require run-
ning the film through the machine
several times to achieve the desired
results. But making your dissolves in
this manner may have its virtues. It
makes careful film planning a necessity.
It makes for exact and reasoned
choices as to where and why you are
going to employ dissolves. Certainly
you will not tend to use dissolves in
a haphazard fashion.

It's lots of fun to try and make a
simple machine do complicated things.
Sometimes it isn't the limitations of
our equipment that really hold us back.
More often it may be the limitations in
our thinking that won't let us try a new
route to an old destination.

Camera tricks
a la carte

[Continued from page 96]

Mom and Dad approaching a closed
bedroom door. Dad opens it, flicks on
the light and they both hurry in.

19. Medium shot of Johnny, sitting
up in bed and crying. Mom and Dad
come to the bed, try to comfort him.

20. Closeup of Johnny. He looks
scared. He says:

Title. "/ had a nightmare."

21. Same setting as Scene 19. Mom
and Dad are sitting on Johnny's bed.
Mom soothes Johnny, while Dad looks
sheepish. Johnny lies back on his pil-
low, and Mom adjusts the covers.

22. Same setting as Scene 18. Mom
comes out of the room. Dad flicks out
the light in the room, then closes the
door after him.

23. Semi-closeup of Mom and Dad
standing in front of the closed door.
They start arguing. Dad apparently
getting the worst of it. She points a
finger at him and says:

Title. "You should know better than
read him ghost stories!"

24. Same setting as Scene 23. Dad
pooh-poohs her statement and says:

Title. "There's no such thing as
ghosts!"

25. Same setting as Scene 24. After
Dad delivers his statement, he walks
out of camera range. Mom stands alone
a moment, thoughtfully. Fade out.

26. Fade in. Closeup of clock, which
reads midnight. If possible, panoram
slowly to shot of Dad hunched once
more in his easy chair, still reading the
book of ghost stories. The sole lighting
is again the bridge lamp.

27. Semi-closeup of Dad as he closes

the book. He seems somewhat nervous
and rolls his eyes from one side to the
other, as if trying to pierce the dark-
ness of the room.

28. Same setting as Scene 27 but in
medium shot. The scene is in darkness
except for the light centered around
Dad's chair. He tosses the book on the
floor, reaches for a pack of cigarettes
on the end table. He takes one, lights
it, inhales, then rests his elbow on the
arm of the chair with the cigarette held
lightly between his fingers.

29. Semi-closeup of Dad with ciga-
rette held between his fingers. (With
your camera set firmly on a tripod, stop
the camera, have Dad hold perfectly
still and then you remove the cigarette
from his fingers. Start your camera
again.)

30. Same setting as Scene 28. Dad
jumps as he sees that the cigarette has
disappeared. He looks around the
floor, but can't find it. He leans back
again in the chair and scratches his
head. Then he reaches for another
cigarette and lights it. (Repeat twice
the action in Scenes 28 through 30,
ivith Dad getting more nervous each
time.)

31. Same setting as Scene 28. At last
Dad gets a cigarette lighted and it
doesn't disappear. He pulls on it ner-
vously, then again rests his arm on
the chair with the cigarette held be-
tween his fingers.

32. Closeup of cigarette between fin-
gers. (Stop camera. While Dad holds
hand perfectly still, place three more
lighted cigarettes between his fingers.
Start camera and shoot a small take.)

33. Semi-closeup of Dad as he dis-
covers four cigarettes in his hand. This
time he really is alarmed. With shak-
ing hands he places the smokes in an
ashtray, then peers nervously into the
surrounding darkness. (This disappear-
ing act can be repeated, using other
articles on the end table until poor
Dad is whipped up to a frenzy.)

34. Same setting as Scene 28. Dad is
now a nervous wreck, yet too scared to
call out or leave his chair. He leans
back and closes his eyes. At this point
a sheet-clad ghost enters the scene and
walks behind his chair. Dad is unaware
of it. (For those of you who wish to
delve into double exposure, shoot
Scene 34, then rewind and superimpose
the ghostlike figure. This will add an
ethereal effect to the ghost.)

35. Same setting as Scene 28. Dad
opens his eyes. The ghost is now stand-
ing at his left. He lets out a yell and
freezes in his chair. (Stop your camera
and remove the ghost from the scene.
Start camera.) Dad gapes as he sees
the ghost disappear. (Repeat with ghost
appearing and disappearing from his
right.)

36. Same setting as Scene 29. Dad
jumps out of his chair, looks wildly
around him.

MOVIE MAKERS

113

37. Medium long shot of Scene 36.
Dad starts running about, turning on
lights, until the room is well flooded.
Then he returns to his chair, leans over
and picks up the book, which he tosses
in the wastebasket.

38. Closeup of Dad's face. It is
thoughtful, still somewhat frightened.
Slowly and wonderingly he shakes his
head.

39. Same setting as Scene 2. After
another quick look around the room, he
slowly walks out of camera range. Then
the ghost walks into camera range from
the opposite side. This scene is NOT
a double exposure. The ghost takes off
the sheet, revealing Mom.

40. Closeup of Mom, smiling wisely,
as if she had taught Dad a lesson.

41. If possible, slowly panoram to a
shot of the clock, which now reads
twelve twenty five. Fade out.

Other simple trick techniques which
you can include in your continuity at
will are those of double exposure, split-
screen images and reverse motion. For
guidance on making double exposures
(which essentially involves nothing
more than some method of winding
back your film), see Dissolves Without
a Backwind, on page 94. For an ele-
mentary method of making split-screen
shots, see Simple Split-Screen Effects
on page 97.

Reverse motion, in case you haven't
tried it. is created by shooting your
scene with the camera held upside down
and then, after processing, turning this
scene end-for-end and side-for-side on
the splicer. With 8mm. film and its
single line of perforations, the side-for-
side twist cannot be followed. Thus, in
planning such reverse motion scenes,
you should avoid any identifiable ref-
erence to right and left positions. —
The Editors.

Exposure meters

[Continued from page 93]

average scene and make allowances.

A reflected-light meter tends toward
overexposure on a dark subject, while
an incident-light meter tends toward
underexposure on a similar dark area.
On light colored subjects, the errors go
in the reverse direction — underexposure
with a reflected-light meter, overex-
posure with the incident type. Usually
the errors are not serious and a small
(one half to one stop) adjustment of
the indicated aperture will fix them.

You may now ask when should a re-
flected-light meter and when should an
incident-light meter be used? Actually,
either meter may be used for any sub-
ject once the owner gets used to his
instrument. The reflected-light meter
user must be careful to point his meter
at a subject that has an average color.
A gray card is best, but other substi-

tutes may be found, such as a gray
tree trunk, a gray rock, a gray build-
ing, a gray hat or coat. The cameraman
should be sure to select an object large
enough to fill the field of view of the
meter and he should then approach this
subject closely enough to exclude sur-
rounding objects. Also, he should avoid
pointing the meter at abnormally dark
objects like dark foliage and shadows,
or at abnormally bright objects like the
sky, snow or light glancing off water.
The readings will be misleading.

When using an incident-light meter
the precautions are different. Chiefly,
you should be sure that your meter is
held in truly the same light as is falling
on the subject. This is particularly im-
portant indoors. Most of the time this
requirement is quite easy to meet,
especially when you can hold the meter
at the subject itself. When the subject
is at a distance, it sometimes takes a
little ingenuity to hold the incident-
light meter in the same or a sufficiently
similar light condition. For example,
you may be standing in the sun when
your subject is in the shade. The trick
here is to create some shade for the
meter by shielding it from the sun with
your hand or hat.

Another point it is well to keep in
mind is that the ASA or other film
speed numbers are not sacred, to be
used as published under all conditions.
If you find that all your footage runs
consistently a little darker than you
would like to see it, by all means use
a lower film speed number on your
meter readings. For example, if you've
been using ASA 10 for outdoor color
film and the results are dark or muddy,
set your meter to ASA 8 or even 6 if
you want to brighten your pictures. Use
a higher number to darken your footage
if your pictures run slightly but con-
sistently washed-out in color. Don't
hesitate to change if your results are
not what you want.

Finally, if you would like to check
the accuracy of your meter, a rough
test can be made rather simply. With
an incident-light meter, point it directly
toward the sun around noontime on a
bright day. The instrument should in-
dicate between f/9 and //ll at normal
camera speed for ASA 10 film. The
same exposure should be indicated by
a reflected-light meter trained from a
close position on a Neutral Gray Test
Card (Eastman Kodak), held so that
the noon sunlight falls full upon it. Be
careful, however, that the shadow of
the meter does not fall on the card.

To become really proficient with your
meter you should takes notes whenever
you use it and then check your films
against these notes. In this way you'll
find out rapidly how you metered your
best shots and how you metered your
poor ones. The successful techniques
can then be repeated, the unsuccessful
avoided.

HOW TO MAKE

BETTER MOTION

PICTURES

TTERE'S the key to good movie mak-
*■ -f ing — for both amateur and profes-
sional. If you have a camera, film, an
exposure meter, and a copy of this hand-
book, you possess all the materials you need
to make successful movies.

Just Out!

Handbook of Basic

Motion-Picture

Techniques

By Emil E. Brodbeck

Well-known motion picture photographer;
President, Celluloid College

311 pages, 6x9, over 200
illustrations, $5.95

NO matter how expert you become, the
basis for all of your movie-making
operations are to be found in this book. It
discusses both the

Wof.on-pWu'e «m«
illustrating each ot
Vh. 10 chapters rf
his book ore ar-
able at Y°<" ,0"'.
film library or pho
to dealer.

mechanics and
techniques of the
camera, lenses, ex-
posure, etc. It
takes up, one by
one, the ten stum-
bling blocks in mo-
tion-picture mak-
ing. Panning—
using the tripod —
shot breakdown — screen direction — matching
action — newsreel technique — build-up — com-
position— indoor lighting — and applied tech-
niques are all covered in detail. Over 200
clear illustrations point up all the vital in-
formation you need or want.

At your bookstore

or use coupon for

10 Days Free Examination

McGraw-Hill Book Co., Inc.,
330 W. 42nd St., New York 18

Send me Brodbeok's Handbook oj Basic Motion*
Picture Techniques for 10 days' examination on
approval. In 10 days I will remit $5.95, plus few
cents for delivery, or return book postpaid. (We
pay for delivery if you remit with this coupon;
same return privilege.)

Name

Address

City Zone .... State

Company

Position MM-3-50

This offer applies to U. S.

only.

114

Brooklyn gala plans The eleventh annual gala show

of the Brooklyn Amateur Cine
Club, ACL, is slated for April 14 at the St. Felix Street
Theatre, 122 St. Felix Street, Brooklyn, N. Y. Among
the prize winning films already scheduled are Mexican
Malarkey, by Cal Duncan, ACL, Anytime After Six, by
E. H. Sparks, ACL, and One Dinar More, by J. N. Un-
walla, all three honored in the 1949 Ten Best contest.
The program will be supplemented with members' club
contest award winners.

Tickets are $.95 each and may be obtained from R. F.
Rathbone, Room 820, 116 John Street, or E. E. Adams,
55 West 42nd Street, both in New York City. Mr. Rath-
bone may be reached by phone at CO 7-5288 during the
day or DA 6-2223 at night.

Kansas City elects John C. Sherard was re-elected
president of the 8-16 Home Movie
Makers, of Kansas City, Mo., in the recent balloting.
Robert C. Davis was named vicepresident, and Herman
B. Davis became the new secretary-treasurer.

Plans for the current year include a series of work-
shop nights devoted to titling, editing, lighting and equip-
ment demonstrations by manufacturers' representatives.
The club is entering its third year.

At Schenectady Dr. Katharine B. Blodgett, a scien-
tist of the General Electric Research
Laboratory, was the guest speaker at a recent meeting of
the Movie Group, Schenectady Photographic Society,
ACL, in that northern New York city. Her topic was
Interference Colors and Lens Coatings, a subject which
she illustrated on the spot with various test experiments.
Francis Spoonogle, chairman of the Movie Group, ar-
ranged for Dr. Blodgett's appearance.

Metro calendar The first two months of the new year
provided members of the Metro
Movie Club, in Chicago, with some widely diversified
film fare. Travel interest was supplied by Europe in the
Spring, by Morris Baker, From Desk to Deck, by Mildred

The people, plans and programs of

amateur movie groups everywhere

Burage E. Stiles

BERKELEY MOVIE CLUB members are H. F. Kranz, A. Haagrave, A.
Leach, Dr. F. R. Burton, ACL, Carl H. Fox and Aubrey L. Hodges, president.

DR. KATHARINE B. BLODGETT, of the General Electric research labo-
ratory, demonstrates a point on lens coating before members of
the Movie Group, Schenectady (N. Y.) Photographic Society, ACL.

E. Young, and From Canton to Canton, by Othon Goetz,
ACL, all in 16mm. color. Harry K. Shigeta, principal
guest at a January session, talked on Dramatic Production
on Limited Budget, which was illustrated by his film,
Zion Passion Play. The vacation theme was treated in
Wisconsin Summer and October Adventure, by Harrie
and Marge Craig, and three short films by Fred Haupt — ■
Midsummer Day Dreams, Land of the Long Tails and
Harbinger of Things to Come — all on 8mm. Kodachrome.

L. A. awards Winners in the annual contest have
been announced by the Los Angeles
Cinema Club. In the scenario group, How to Build a
House in Ten Minutes, by George Einfeldt, won first
prize, with The Willow Ball, by Dick Reed, placing sec-
ond. Guatemala, by Mrs. E. B. Kellam, ACL, took first
prize in the travelog section, with Basque-France, by
Mrs. Mildred Zimmerman, ACL, and Paradise in Mid-
Pacific, by Jack Shandler, filling second and third places
respectively. Top honors in the sound category went to
Edward S. Kernan for Music, Color and Corn. Made to
Order, by Leo Caloia, rated second, and Pacific Pathway,
by Dr. Zimmerman, placed third.

Winnipeg program A recent session of the Winni-
peg Cine Club, in Canada, fea-
tured the screening of Trappers Fur Festival, by Robert
Frederickson, 1000 feet of 16mm. Kodachrome produced
for the Manitoba provincial government. Also shown was
Lurch of Time, 200 feet of 8mm. Kodachrome, by Bob
Cohan, ACL, a composite of Winnipeg scenes and events.
An open forum on various movie making problems and
a discussion of titling techniques, led by the Messrs. Lam-
bert, Patterson and Cairns, completed the evening.

Phi la. sessions Midwinter meetings of the Phila-
delphia Cinema Club included two
devoted respectively to special-subject camera techniques
and continuity. The former subject held the spotlight when

MOVIE MAKERS

115

the southwest district of the city ar-
ranged the program, under the chair-
manship of Robert Tross. Films shown
were Thanksgiving Parade, 1947, by
Sidney Malet; Babies of the Animal
World, by Fred Warner; Modern Buc-
caneers, by Mr. Tross; Botanical Ad-
ventures from Maine to Florida, by
Irwin Boeshore, ACL; Birthdays, by
Arthur Hurth, and V acationland, by
Virgil Woodcock, ACL.

The subsequent session, conducted by
Alfred E. Nichols, ACL, featured a
talk by past president A.L.O. Rasch on
continuity. This was followed by the
screening of members' films, which in-
cluded Mystic, by Norman C. Birks;
Elfreth's Alley, by Jesse H. Haines;
Springtime in and Around Philadelphia,
by Howard Hainan; St. Lawrence
and the Saguenay, by Jeanette Kelly;
Model Airplanes, by J. Henry Maurer;
Rambling in Color, by Alexander Mc-
Calmount; Idle Days, by Mr. Rasch,
and Along the Tow Path, by Richard
Stehle.

New Italian group Another ama-
teur cinema
club has been organized in Italy, this
one in Legnano. Dr. Giuseppe Bozzetti
is president, and Giovanni Re is the
vicepresident. Treasurer and assistant
are Augusto Bandera and Gianmaria
Viespoli, respectively. Dante G. Alberti
is the secretary. •

Durban awards The Selwyn

Jacobs Cup
competition, sponsored by the Durban
Amateur Cine Club, of South Africa,
was won by J. J. McKenzie with his
16mm. production, Unspoilt Africa.
Runners-up were Barrier Reef, on 8mm..
by Dr. V. A. Wager, and Shembe, on
16mm., by A. G. Frolich, ACL, second
and third place winners, respectively.

N. Y. 8's screening A diversified

film pro-
gram entertained members of the New
York City 8mm. Motion Picture Club
at a pre-holiday session. The films
projected included The Cruise of the
Lady Helen, by Morris H. Auerbach;
Movie Miseries, by George A. Valen-
tine, ACL; Acqua-Kids, by R. M. Ful-
mer, ACL; Vacation in Pennsylvania,
by Kurt Bayer, and 49'ers, by P. E.
Worrell, ACL. of Kansas City, Mo.

Miami program The year's end

program of the
Miami Movie Makers, ACL, was made
up of three travel and one novelty
film. In the former group were Flying
Doivn to Central America, 400 feet of
8mm. color, by Floyd W. Taylor;
Smoky Mountains, 300 feet of 8mm.
color, by E. E. Gayle, and Nantucket,
380 feet of 16mm. color, by R. T.
Pansie. Doghouse Blues, by Earl H.
Sparks, ACL, was the novelty num-

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8-16mm Silent, Sound,
Sales, Rental, Exchanges.

REED & REED DISTRIBUTORS, INC
7508 3rd AVE., BROOKLYN 9, N. Y.

ACL MEMBERS: The ACL has on hand a
limited number of 8mm. black und white
ACL leaders. Normally priced at 50c, they
are available at 35' each as long as the
supply lasts. Send orders and remittances
to the Amateur Cinema League, 420 Lex-
ington Avenue, New York 17, N. Y.

MOTION PICTURE
i6mm PRINTERS »""

CONTINUOUS— REDUCTION
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Price of larger prints on request

From 8 and 16mm Color Film

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Shipped postpaid on receipt of $3.95, check
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Try it 10 days, if not satisfied return it and
get your money back. Lights not included.

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THE ONLY BOOK DEVOTED EXCLUSIVELY TO TITLES
Every step explained, simply and thoroughly.

It Answers Every Title
Making Problem

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116

MARCH 1950

Chicago Tribune

s*»wCSmES
of'6W*lfS

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164 N. WACKER DRIVE, CHICAGO 6, IICS

FADES and SPECIAL EFFECTS

Have YOU tried the MOVIE-TRIX way of putting
fades and effects into YOUR movies? Professional
method gives you Circle Wipes, Whirlpools, Sawtooth
and Clock Sweeps, Slow and Fast Fades, all used
AFTER EDITING! No chemicals! Cost of full doz.
ass't Is $1.25 for 8mm, $1.50 for 16mm.
Send for free circular

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ACL LEADERS FREE!

_ There's a free copy of ACL's new full-color .
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>, League membership. i

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this month!

6060 SUNSET BLVD., HOLLYWOOD 28 CALIF.

MOVIE AND SLIDE TITLES

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Same titles formerly distributed by Bell & Howell
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Our 1950 Sound movie
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Write to Dept. R

PHKLESS

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FINEST HOME

138 E.44th St.,New York T7.N.Y.

ber. The latter two films were bor-
rowed from the ACL Club Library.

The club, in cooperation with the
Epsilon Chapter of Beta Sigma Chi,
recently presented a program of films
for children in the County Hospital
and Home, in Kendall, Fla., as part
of the community ventures planned by
the club's events committee.

Toronto Schedule Midwinter ses-
sions of the To-
ronto (Canada) Movie Club were di-
vided between members' films and
those loaned by neighboring groups.
The Edmonton Movie Club furnished
an 8mm. group production of a comedy
theme. Another loan film was Early One
Morning, a Swedish Christmas film with
sound track. Among members' offerings
were Summer Sails, by Harold Porter,
a 16mm. Kodachrome production with
sound on film; This is Story Time, an
animated fairy tale in 8mm. color, by
Jack Grassick, and Down on the Farm,
by Jerry Tripp.

Peoria elects Mrs. Ida Mae Harms,
ACL, was chosen
president of the Peoria (111.) Cinema
Club in a recent election of officers for
the current year. Caesar Dentino, ACL,
is vicepresident. and D. R. Carlton,
ACL, was re-elected secretary. Paul
Marshall, ACL, is treasurer. In charge
of club contests will be Kert Leucht,
while programs will be handled by
C. W. Gustafson, ACL. Mrs. Alan T.
Myers is librarian, and Sam Troup
will handle publicity.

Kenosha winners Delores and

Timothy L a w-
ler, ACL, captured the grand award, as
well as first and second places in the
16mm. class, of the annual contest spon-
sored by the Kenosha (Wise.) Movie
Makers Club, ACL. Their winning films
were Pastorale and Isle of the Dead,
the former first place and grand award
winner. Runner-up was Canada, by
the Reverend Edwin Jaster, ACL.

In the 8mm. group. Just Fishing, by
Eldon Voelz, took first place, with
Speedway Thrills, by Emil Bailke, in
second position.

Denver reorganizes In order t0

embrace
Denver's outlying districts, the Denver
Cinema League has been reorganized
under the name of the Greater Denver
Cinema League. Newly elected officers
for the group are Alfred D. Kleyhauer,
president; Ralph L. Asbury and M. W.
Swansick, ACL, first and second vice-
presidents respectively; Harry B. Berg-
strom, secretary-treasurer, and Markley
L. Pepper, ACL, chairman of the board
of directors.

The February meeting featured a
screening of exchange films from the
Amateur Motion Picture Society of Al-

IN CHICAGO, Dr. C. Enion Smith, ACL, left,
presents President's Trophy from Association
of Amateur Cinema Clubs to Edward Diller,
Metro Movie Club president, and a personal
trophy to Carl D. Frazier, ACL, for Who's A
Coward?, Association competition winner.

bany (N.Y.), ACL, which included
Heaven Will Help the Working Girl,
by Art Keniritza; Winter Vacation in
Florida, by Mary Robilatto; The Lake
District, by Esther Cooke, ACL, and
Winter Wonderland, by Helen C. Welsh,
ACL.

Plans are going forward for the
Denver group's annual salon, to be held
on May 1 this year.

Hartford visitors A recent meet-
ing of the Hart-
ford Cinema Club was enlivened by the
presence of Joseph J. Harley, FACL,
of Summit, N. J., and Cal Duncan,
ACL, of Lee's Summit, Mo., who pre-
sented their own films for the entertain-
ment of the gathering. Mr. Duncan
showed his 1949 Ten Best winner, Mex-
ican Malarkey, while Mr. Harley
screened Little Intruder and Design in
White. Sail Fishing, by Al Schmidt,
ACL. of Binghamton, N. Y., completed
the program.

Portland elects An election held
recently by the
Portland (Ore.) Cine Club resulted in
Peter Porco being named president, with
Lillian Nelson as vicepresident. Lois
Tiements is secretary, and William
Given becomes treasurer. Ruth Long and
William O. Anderson were appointed
membership and program chairmen, re-
spectively.

The club held its annual gala party
at the Nortonia Hotel during the holi-
day season, a festive affair featuring
barber shop quartets and a turnabout
fashion show.

Current club plans call for a rookie
period each meeting, the first half hour
being devoted to beginners and their
problems, the general club session fol-
lowing this.

Okla. winners The Seasons won
first place for
Mrs. Hugh Turney in the 8mm. class
of the annual contest sponsored by the
Movie Makers Club. ACL, of Oklahoma
City. Second place went to Yellowstone
Park, by Marion Record, and third to
Glom set's Cabin in the Blue, by Mrs.
John Glomset. In the 16mm. group.

MOVIE MAKERS

117

H. A. Houston took top honors for A
Remnant. Mrs. Glomset took second
place in this class with The Beautiful
Blue. Third place winner was 0. S.
Butts, ACL, for Take Me Out to the
Ball Game.

Recent club elections made R. C.
Castle president and John Varnell vice-
president. Mrs. Turney retains her po-
sition as secretary-treasurer. E. B.
Cowen will be in charge of public re-
lations, while Earl Hearn handles
membership. Mrs. F. L. Glasgow heads
the reception committee. Also serving
on the board of directors are C. N.
Conley, Lee White and Mr. Houston.

School contest Announcement has
been made by New
York University of the fourth annual
high school motion picture contest.
Deadline for entries is May 1, 1950. An
added stimulus this year is the desire
expressed by a television network to
telecast the 1950 winners. High school
film groups interested in competing
should address their inquiries to Robert
Gessner, Department of Motion Pic-
tures, New York University, Washing-
ton Square, New York 3, N. Y.

Desert filming ways

[Continued from page 105]

CLOTHING AND FOOD

As for type of clothing, much de-
pends quite naturally on the time of
the year and the prevailing weather
conditions. Clothing you may select for
desert highway motoring will suffice in
most cases; but it is well to remember
that nights on the desert can be de-
cidedly cool, even during the seasons
when the daylight hours are warm. For
desert hiking and protection against the
prickly cactus, a pair of leather wood-
man's boots are useful but not entirely
necessary.

The amount of food you take with
you will depend, naturally, on your
stay away from populated areas. Try
to carry nourishment, however, that
will not encourage an abnormal thirst,
such as salted meats or crackers. Chew-
ing gum, in some instances, helps on
the thirst problem and should be in-
cluded in -your supplies for such emer-
gencies.

Finally, an intelligent addition to your
equipment will be a small first aid kit
and a compass. The inexpensive Boy
Scout types are generally adequate.

RESEARCH HELPS

Before journeying to any desert I
have visited my local library and
sought out books about each locality.
In this way it is possible to route one's
excursions to regions that are the most
colorful. Jotting down a few notes on
the area to be visited is useful not only
as a guide for filming, but also for any

titles or commentary that may be writ-
ten later.

For those who enjoy prowling about
old mining camps and ghost towns, it
goes without saying that a certain
amount of background information will
be helpful. Occasionally, at points of
interest where tourist visits are frequent,
pamphlets or booklets are available on
the spot for a nominal fee. Rarely ob-
tainable outside of the area, these local
guides are useful regardless of the
amount of library hours that have been
spent in study.

LET'S GO

In the desert atmosphere two natural
elements are the bitter enemies of your
supplies and equipment. These are the
heat and the dust. Stout cases, as nearly
dustproof as possible, should be pro-
vided for the cameras. All lenses should
be protected with caps. No lens or filter
cleaning, other than touching with a
camel's hair brush, should be at-
tempted in the field, due to the ever
present dust grains that lodge them-
selves on glass surfaces.

The rest is up to you. What your
filming experience in the past has taught
you will certainly apply here. For the
desert requires little if any specialized
camera techniques. All that it may ask
of you will be a stout heart and a see-
ing eye for nature's lonely, capacious
splendor.

Simple split-
screen effects

[Continued from page 97]

image have been crossed by the time
they reach the obstruction of the mask.
Thus — and here's the practical point of
this lesson in theory — if you wish to
block off the left side of your scene,
you must position your mask with the
opaque part of it on the right, or if
you intend blocking the top of your
scene, you must place the opaque sec-
tion of the mask at the bottom . . .
All set now?

In actual use, the first step in making
a split-screen shot is to mount your
camera on a tripod or some other rigid
support. Now. through the viewfinder,
locate some reference or "bench mark,"
preferably at the halfway dividing line.
This is to guide you in replacing the
camera exactly as before after the first
exposure. You are now ready for that
exposure, so you insert the mask and
push the button.

With the tripod left standing where
it is. remove the camera to a darkroom,
a closet or a changing bag. where you
may rewind the film. If the emulsion
is such that a safelight can be used
(slow positive film only) , the starting
point may be cued with white ink; if
not, the edge of the film may be

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118

MARCH 1950

UNITED WE STAND

LEGEND has it that it was Aesop, the Greek fabu-
list, who, some 5 50 years before Christ, first
■ stated the stirring maxim: "United we stand,
divided we fall." Certain it is that some seventy years
later, Leonidas rallied his stubborn Spartans at Ther-
mopylae with the same battle cry.

Since those brave days, the paramount importance
of unity to the success of any cause has become in-
herent in the thinking and the language of all free
peoples. Dumas echoed it for the French in the ring-
ing pledge of the Three Musketeers — "All for one,
and one for all!" Ben Franklin rephrased it with
forceful realism at the signing of the Declaration of
Independence — "We must all hang together, or as-
suredly we shall all hang separately." And now, in
our own Reader Writes column of this issue, a legion of
League friends and supporters have recast this ancient
and honorable truth in the wordings of today. Per-
haps the most vivid of these is the summation of one
correspondent, who states: "In belonging to the ACL,
I feel like the banana. . . . Once you get away from
the bunch, you always get skinned."

We collect these quotations, of course, in i m medi-
ate reference to what happened early this year in
Miami, Florida. There, a local movie club holding
membership in the League, led on the spot by a direc-
tor of the League, and aided and advised in overall
strategy by League headquarters, decisively defeated
a union-sponsored bill designed to control all movie
projection in the community. These things have hap-
pened before. They will happen again. And the Ama-

teur Cinema League, wherever the freedom of per-
sonal filming is threatened, is pledged to its defense.

But that is not all. These are, in a sense, negative
victories only — triumphs won in the protection of
already existing freedoms. The ACL also regards as
its job the winning of positive victories — the creation
of amateur filming freedoms where, unreasonably,
none before existed. We have amassed, in a generation
of serving the amateur, a rather stirring roll call of
such triumphs.

The ACL, for example, is directly and solely re-
sponsible for the duty-free status of amateur motion
picture film returned to the United States by Ameri-
can travelers. The ACL, either wholly or in part, was
instrumental in removing filming restrictions from
such universal tourist attractions as the Empire State,
the Chrysler and the Woolworth Buildings. The ACL
got the ban lifted from filming at New York's fa-
mous Bronx Zoo, it guaranteed filming freedom from
the outset at the New York World's Fair and it
helped to protect that freedom at the Golden Gate Ex-
position, in San Francisco. Most recently, representa-
tions by the ACL have made the amateur filmer a
welcome and privileged guest at the Gallup Inter-
Tribal Ceremonies, in New Mexico.

These creations of new filming freedoms, like the
defense of established ones, the Amateur Cinema
League carries on for the benefit of all. A member-
ship in the League is not required for you to enjoy
them. Your membership, however, is sincerely invited
if you wish to support them. It's up to you.

John V. Hansen, President
Ethelbert Warfield, Treasurer

C. R. Dooley
Ralph E. Gray
H. Earl Hoover

THE amateur cinema league, Inc

Founded in 1926 by Hiram Percy Maxim

DIRECTORS

Joseph J. Harley, Vice President
James W. Moore, Managing Director

Harold E. B. Speight
Stephen F. Voorhees
Roy C. Wilcox

AMATEUR CINEMA LEAGUE, INC.. 420 LEXINGTON AVE.. NEW YORK 1 7, N. Y., U. S. A.

notched. It is simplest, of course, if you
create your effects at the beginning of
a roll of film. You then simply wind
back to that beginning. The 8mm.
workers, roll or magazine, have it all
over the 16mm. shooters, since their
film can be rewound right in the camera
(see Dissolves Without a Backwind,
page 94. — Ed.).

After the film has been rewound, re-
mount the camera on its tripod and
re-aim the viewfinder on the reference
mark. Reverse your mask to the other
side of the frame and now add the
complementary side of your split-screen
effect.

Since the mask is positioned ahead of
the shutter, it will be a matter of

several millimeters in front of the film
surface, or focal plane. For this reason
the line dividing the two sides will not
be sharp. Each image will rather fade
out to nothing at the split and some
overlapping is thus inevitable. But this
is a definite advantage where the wall-
paper, upholstery surfaces or other
backgrounds blend together fairly
smoothly.

Any attempt to eliminate the overlap
by making the mask greater than a
half-circle will result in an unexposed
line through the middle of the picture.
Thus, attention should be given to
choosing joining areas which will
blend well. In order to achieve integra-
tion of the finished picture, careful at-

tention must also be given to exposing
the two sides evenly, since print "dodg-
ing" is hardly practical with movies.

There are many ingenious and often
dramatically effective uses of the split-
screen effect. The familiar duplicate
image — in which two images of the
same person carry on the action — is
generally employed more as a gag
than as a genuine dramatic device. The
same vertical split, however, can be
used quite neatly in picturing both ends
of a phone conversation or any other
parallel action in the development of
your theme. Triple or quadruple sets of
masks open up still other opportunities.
They will be limited only by your own
ingenuity and imagination.

100,000 MOVIE MAKERS HELPED WRITE
THIS GUIDE TO MAKING BETTER MOVIES

The ACL MOVIE BOOK

READ THE COMPLETE TABLE OF CONTENTS

WHAT IS A MOVIE?— A fundamental discussion of films and filming.

WHAT MAKES A MOVIE?— The basic principles of the motion picture;
scene, sequence and camera viewpoint.

A MOVIE'S CHIEF TOOLS— Essentials of your camera, film and projector.

BASIC CAMERA TECHNIQUE-The practical problems of exposure, focus,
scene length and camera handling.

FILM PLANS AND SCRIPTS-How to develop any film theme in easy and
entertaining continuity.

AROUND THE YARD MOVIES-Family films come first from the camera
of every home movie maker.

WE NEED MORE MOVIE TOOLS-How to use accessory lenses, filters,
tripod, exposure meter and the advanced camera.

THE CAMERA STEPS OUT— Pictures of picnics, holidays, games and out-
door sports.

THE CAMERA SEES THE WORLD-Planning and producing the travel film,
by auto, train, plane or ship.

FILMING PUBLIC EVENTS— What makes a movie of a parade or pageant,
a football game or a county fair.

MAKING READY TO PROJECT— The tools and techniques of editing, splicing,
title writing and title making.

PROJECTION— Placing the projector, screen and audience; use of narrative
and music.

FILMING INDOORS — The equipment, principles and practice of interior
lighting and exposure.

THE CAMERA DECEIVES— Simple and advanced camera tricks; reverse
motion, stop camera, movies in a mirror, animation, miniatures, double
exposures and time lapse.

THINGS FAR AND NEAR— Using the telephoto lens, and other methods of
closeup movie making.

BETTER METHODS OF EXPRESSION Creating and using basic film effects;
the fade, lap dissolve, wipe off, moving camera, montage editing and
composition.

MOVIES IN COLOR— Complete characteristics of Kodachrome and Ansco
Color; exposing color film indoors and out; filters for color; subject matter
and lighting contrasts.

SOUND WITH FILMS— Use of narrative, music and sound effects, on disc
or sound tracks.

SPECIAL PURPOSE FILMS— Personal films in business, teaching, science and
the church; the film story and the documentary.

PROFITS FROM YOUR MOVIES-How competent amateur filmers help
pay the freight.

THE MOVIE SHOPPER— Eight or Sixteen? Buying used equipment; acces-
sories and services.

8MM AND 16MM FILMERS

I ■

GUIDE TO

8 fi B 1 B 1

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1 S ■ « B I
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B B B B

THE ACL MOVIE BOOK

AMATEUR CINEMA LEAGUE, INC.

TWO WAYS TO GET THIS BOOK

Order from your favorite book store, photo-
graphic dealer, or direct from the publishers.

fl n " y°u i°'n The Amateur Cinema League,
the book is yours FREE, plus all the
League Services, pfus MOVIE MAKERS Maga-
zine for one year, for only $6.00. Use EITHER
coupon below! DO IT NOW!

AMATEUR CINEMA LEAGUE, Inc.
420 Lexington Avenue
New York 17. N. Y.

3-50

Please send me

copies of The ACL MOVIE

BOOK. I enclose remittance for $3.00 each, made
payable to Amateur Cinema League, Inc.

Name-
Street.
City

_Zone_

.State

3-50
AMATEUR CINEMA LEAGUE, Inc.
420 Lexington Avenue
New York 17, N. Y.

1 Name_
Street-
City

_Zone^

_State_

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chrotal. Standard C mount for
16mm cameras. Extra legible
depth of field scale. Click
stops. Filmocoted. 517150

4 V

-v

((

-inch T2.5 (f/2.3) Taylor-
Hobson Cooke Panchrotal.
Standard C mount for 16mm
cameras. Extra legible depth
of field scale. Click stops.
Filmocoted. Nearly 50% faster
than the fastest of any other
leading 4-inch lens — 400%
faster than the slowest.

$19835

Each lens in the series covers exactly twice the area of the next longer lens.
Greater accuracy— finer, more professional results— that's what these lenses
mean for you! We think they represent the greatest advance in camera optics
in years — and we think you'll agree! See them at your dealer's today!

Borrowing for the amateur the type of focal length
series in our line of lenses for the Hollywood stu-
dios, Bell & Howell and Taylor-Hobson have put
in years of research developing this fine series of
seven lenses for 16mm motion picture cameras.
The four illustrated above are available now.

You buy for a lifetime when you buy

Bell £ Howell

Chicago 45

5 1360

©CI 8 8 3 9753

Fall

3Mb

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APR.

1950

25c

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Got

BUILDING A VIEWER • HOW TO MAKE TITLES • ALL-WEATHER COLOR

• • * • AMERICA'S FOREMOST CAMERAMEN PREFER THE BOLEX H-16

Arthur Miller

NEW! BOLEX EYE-LEVEL FOCUS

All new Bolex H-10 and H-8 cameras now
include this fine precision instrument that
Kives you critical visual focus through the
lens, from behind the camera . . . and at
no increase in price! Available for older
H model cameras, $43.41, Fed. tax. inc.

Here's why ARTHUR MILLER

Prefers the Bolex H-16

+ New Bolex Eye-Level Focus * Automatic
Threading * 3-Lens Turret Head * Tri-focal
Tubular Viewfinder ~k Parallax Correction
Down to 18 Inches * Focal-Plane Type Shutter
190 X Needs Oiling Only Once in Three
Years X Frame Counter Adds and Subtracts
+ Cable Release Can Be Used X Audible
Footage Indicator * Footage Counter Auto-
matically Returns to Zero X Variable Speeds
from 8 to 64 Frames Per Second ~k Camera
Can Be Motor Driven ~k Hand Crank Opera-
tion 100 Feet Forward or Reverse * Camera
Can Be Used for Printing * Single Frame
Exposures 1/20 sec. to 1/25 sec. * Time Expo-
sure X Single Claw Operation Adaptable to
Sound Film.

*The Heart of a Perfect Picture
is a KERN-PAILLARD LENS

Standard of Quality
and Precision the world
over. Kern-Paillard
Lenses are computed,
designed and construct-
ed by Swiss Precision
craftsmen . . . there is
nothing finer in the
Home Movie field.

FOR THE BOLEX H-16 (Lens

Switar 1" f/1.4 S183.75 include

PizarP'f/1.5 97.00 fed.

Yvar 15mm f /2.8 78.75 tax)

Yvar 3" f/2.5 128.34

FOR THE BOLEX H-8

Switar %"f/l.5 §160.42

Yvar 25mm f/2.5 08.25

Yvar 36mm f /2.8 89.54

Kern-Paillard lenses, for Model H cameras, are
in focusing -mount, full)/ color-corrected,
specially coated.

1946 Academy Award Winner, black and white Cinema-
tography on the picture "Anna and the King of Siam, "

uses the Bolex H-16

Hollywood Lovelies! Actual enlarged 1'rames from a Home Movie sequence
shot by Arthur Miller with a Bolex H-16. Such fine enlargements are possible-
even on paper — because the exclusive shutter mechanism of the Bolex, in com-
bination with its fine Kern-Paillard* Lenses, assures faultless registration of
the image on the film — in color or black and white.

The BOLEX H-16

Less Lens, $282.50

( no Fed. tax )

EASE OF OPERATION is a requirement
that all Home Movie makers de-
mand. And Bolex gives it to you — plus
professional results! That's why Bolex
Model H cameras are the choice of dis-
criminating amateurs and semi-profes-
sional movie makers all over the world.
Created and produced by exacting
Swiss precision craftsmen, the Bolex is a
faultless instrument which you can de-

MOTION
PICTURE
CAMERAS

Bolex Cameras are sold and serviced
through leading camera dealers everywhere.

peud upon to get the picture you want
every time — in every climate and under
all conditions ... in color or black and
white.

See the Bolex at your dealer's today in
either the 16mm or 8mm film size (the
camera is identical in both). Handle it,
sight it, check its "gadget -less" operation.
You'll know why the Bolex is held in such
high regard by everyone who owns it!

PAILLARD PRODUCTS, INC.,

ani-450

265 Madison Avenue, New York 16, N. Y.

Gentlemen: Please send me free descrip-
tive booklet on Bolex cameras and Kern-
Paillard lenses, and name of my dealer.

Same

Address-

City

State-

;§*& 23 9*53

MOVIE MAKERS

123

Tom Tubell, Jacksonville, Fla.
Robert P. Weiss, Denver, Colo.
Vincent Ayres, San Francisco, Calif.
Paul De Saedeleer, Bruxelles, Belgium
Thomas Houston, Redding, Calif.
Capt. James F. Hudson, Kansas City, Kans.
Louis Barbagelata, Brooklyn, N. Y.
M/Sgt. Stanley J. Debiec,

Barksdale AFB, La.
Kenneth Timbrell Hill, Berkeley, Calif.
Robert W. Hinton, Louisville, Ky.
C. D. McLachlan, Clarkston, Scotland

William M. Fowler, Seattle, Wash.

Sara Hankey, New Kensington, Pa.

J. A. Kirchgraber, Portland, Ore.

David B. Knapp, Freeport, N. Y.

H. V. Lemley, Mexico, D. F.

Peter Milan, Grants, N. Mex.

Philip W. Monreal, Cleveland Hts., Ohio

Dr. A. J. Scarvalone, New York City

K. M. Sheen, Kowloon, Hong Kong

Robert H. Snowden, Norfolk, Va.

Harold Stockhoff, West Hempstead, N. Y.

G. Woodier, Hong Kong

Murray Comer, Kowloon, Hong Kong

Dr. Paul Cote, Ottawa, Canada

Joaquin I. Florez, Sonsonate, El Salvador

John E. Kennedy, Van Nuys. Calif.

William W. McDonald. Omaha, Neb.

Lawrence Miller, Rockland, Maine

Rene Ravoire, New York City

Arold Watkins, Pitts ford, N. Y.

H. G. Hartwell, Los Angeles, Calif.

Serge A. Rivard, South Bend, Ind.

Ralph N. Vozzy, Hatboro, Pa.

Shirley Jane Brown, Cincinnati, Ohio
Lewis C. Cook, Arlington, Va.
Al Lincoln, Omaha, Neb.
Jerry G. Smith, Washington, D. C.
R. E. Ward, Los Angeles, Calif.
Ted C. Zilliax, Chicago, III.

Henry Amerio, Oakland, Calif.

Carl Baumgartner, M.D., Bismarck, No. Dak.

J. Ellis Brown, Salt Lake City, Utah

Charles B. Jewell, jr., Alexandria, Va.

Irving Lev, Chicago, III.

Borah Lipsky, Levittown, N. Y.

Robert MacLeod, Bismarck, No. Dak.

Verner E. Martin, Dayton, Ohio

Lt. Comdr. T. J. Matecke, New York City

Claude Racey. New Toronto, Canada

Cy. Ripple, Milwaukee, Wise.

Fred Whitaker, Salt Lake City, Utah

Howard Jesse Coldiron, Powers, Ore.

Irving Kay, Brooklyn, N. Y.

William Roessger, Milwaukee, Wise.

M. Salzberg, New York City

A. Schetelig, Zurich, Switzerland

Horace Bruno, Pittsburg, Calif.

John Dziwenka, Woonsocket, R. I.

William Gauweiler, Berwyn, III.

Donivan C. Gilliland, Columbus, Ohio

Othel G. Goff, San Francisco, Calif.

Allen E. Kent, Zanesville, Ohio

Rev. I. E. Miller, Benton, III.

Mrs. Virginia Benton, Opp, Ala.

J. W. Crews. W auchula, Fla.

Charles L. Ennis, D.D.S., Los Angeles, Calif.

Rev. J. V. Lloyd, CSP, Johannesburg, South

Africa
J. E. Monbleau, Lynn, Mass.

Col. Gilbert E. Ackerman, Silver Spring. Md.

Perry Ballard, Los Angeles, Calif.

Richard Carlson, Cleveland, Ohio

Albert H. Cohen, Tacoma, Wash.

Dr. S. H. Cohen. Lauderdale, Fla.

J. A. Fernando, Colombo, Ceylon

L. T. Floyd, Kansas City, Mo.

Mrs. John L. Glomset, Oklahoma City, Okla.

Sam B. Hicks, Shreveport, La.

Francis E. Hill, Reading, Pa.

V. M. Morrison, Hong Kong, Asia

Felix T. Paco, Bacolod, Philippine Islands

Walter R. Scherer, Dayton. Ohio
Albert F. Sprafke, Meriden, Conn.
G. N. Tokmakoff, Hong Kong, Asia

C. J. Upright, Edmonton, Canada
Irving Epton, Brooklyn. N. Y.
Paul L. Huber, Vida, Mont.
Albert Florio, New York City
Hugo G. Kiene, New York City

Kn. Langaa-Jensen. Faaborg, Denmark

W. A. Medina, San Francisco, Calif.

Sam E. Racowsky. St. Louis, Mo.

Jorgen Ringen, Kenmare, No. Dak.

John H. Sokow, Kenosha, Wise.

Lt. Wm. H. Garrison, Dearborn, Mich.

Paul J. Hricko. Cleveland, Ohio

George Kern. New York City

Theodore P. Kocher, Hasbrouck Heights.

N. J.
I. A. Myhra. Fargo, No. Dak..
John Rinnare, River Forest, III.

Walter Jablonski, Rochester, N. Y.
Wallace Lessord. Spencerport, N. Y.
Doris Parsons, Deposit, N. Y.
Frank B. Smith. Rochester, N. Y.
Maj. Louis H. Strehlow, Alexandria, Va.
Michael D. Strunk. jr., New York City
Walter Williams, Cleveland. Ohio
Julian Wojack. Rochester, N. Y.
A. Millard Armstrong, Columbus, Ohio
Carl Baroch. Chicago, III.
Lt. B. N. Bellis. Albuquerque, N. M.
Mitchell M. Benedict, M.D., Long Branch.
N.J.

E. E. Blanck. M.D.. Chicago, III.
Cesar Campe. Flushing, N. Y.
Z. W. Fox, Asheville, No. Car.

Frankfort Community High School. West

Frankfort, III.
Hugh George Hambleton, Ottawa. Canada
Mrs. G. Alan Kriz, Elm Grove, Wise.
Max E. Littell, Seattle, Wash.
Everett C. Myers, Bowling Green, Ohio
Lee Payne, Pasadena, Calif.
R. A. Schneider, Sheldon. Iowa
M. B. Watson, Barnsdall, Okla.
Dr. E. H. Braem, East Hampton, N. Y.
A. H. Heiman. San Antonio, Texas
Louis Hendrickson. Chicago, III.
Robert Keifer, Los Angeles, Calif.
Dr. George R. Ogilvie, Lanikai, Oahu, T. H.
A. Rouben. Elisabethville, Belgian Congo
R. A. Strecker, Milwaukee, Wise.

Arthur Baum, Westchester, III.
Milton Cohen, Bala-Cynwyd, Pa.
Arlene H. Daniels, Pittsburgh, Pa.

D. H. Darr, Memphis, Tenn.
Hugh C. Foster. Cambridge, Mass.
Rev. Arthur L. Shafer, Massena, N. Y.
Herman R. Bangerter, Salt Lake City, Utah
Jewell W. Bockwitz. Omaha, Neb.

F. Charles Foulke, New York City
Donald T. McSherry, Chicago, III.

Maj. Weston Hyde, jr., Knoxville, Tenn.

R. A. Arnone, Manhattan, Kans.
Dr. Charles A. Bothamley, North Holly-
wood, Calif.
K. M. Brautferger, Cheyenne, Wyo.
Arthur Brodeur, Woonsocket, R. I.
George R. Ives, Chicago, III.
Michael R. Kent, Winnipeg, Canada
Norman V. Kinsey, jr., Shreveport, La.
Francis G. Melfi, Charleston, S. C.

G. Selivonchik, New York City
Robert G. Fischer, Grand Forks, N. D.

RECIPE

for a good

IAOVU

Take a bright-eyed youngster and
a movie camera . . . add the new
Medium Beam General Electric Re-
flector Photoflood lamps. Mix thought-
fully to get a movie you'll love.

Because the new
PH-375 is truly
designed for movie
use. Puts more
usablelighton sub-
jects, with less cur-
rent. And it's planned for use in
pairs ... up to 4 lamps on one home
circuit to give you better balanced
light for color. Tops for bracket
units that make action easy to fol-
low. (You can now get complete
outfit packed in a handy case, too!)
See your photo dealer for

The New
MEDIUM BEAM

REFLECTOR
PHOTOFLOODS

GENERAL
ELECTRIC

124

APRIL 1950

COMMONWEALTH

Announces
THREE New Additions

to the

Edward Small Group
Now making |Q in all

OF
-M0/VTE
CRISTO

^ROBERT D

LOUIS

JOAN

HAYWARD • BENNETH

SEORCE

SANDERS N^JPI

OeSWof

CfflSIO

MYSON.My$oN /

- lou's Hayward

ZL MAN W THE >«ON »»SK

Brian Donlevy, M.r.arn n v

KIT CARSON Andres

Douglas Fairbanks, Jr.,

Akim Tam.rott

William Gorgon, "»»

Moore, Peggv R*an co,c
^sVbTTHEMOH'CANS

LHJ' "■ B-.nnie Bornes, Henry

Randolph Scott, Binnie o

^raa^'CcyKeH,

For Rentals Communicate :
with your leading
Jj I6MM. FILM LIBRARY ^^

EXCLUSIVE I 6 MM DISTRIBUTORS

COMMONWEALTH PICTURES

CORP.

723 Seventh Avenue. NewYork 19, NY.

THE MAGAZINE FOR
8mm & 16mm FILMERS
Published Every Month by
AMATEUR CINEMA LEAGUE

New ACL members

The reader writes

Tips on titling

Color and the weather

Birthdays with bounce

Typed titles can be white

The road's to Rome

The clinic

A simple viewer

Imagination makes the movie

Fine frames

Should outdated film be given

News of the industry

Book reviews

Closeups

Clubs

Filming is for fun

April
1950

123
126

George A. Valentine 131

Earl Clark 132

Amy Wray Hilton 134

Matt Bennett 135

Don Charbonneau, ACL 136

Aids for your filming 138

Lewis C. Cook, ACL 139

Sidney Moritz, ACL 142

From readers' films 143

added exposure? 144

Reports on products 146

152

What filmers are doing 153

People, plans and programs 154

Editorial 158

Cover photograph by Elizabeth Hibbs

DON CHARBONNEAU
Consultant Editor

JAMES W. MOORE
Editor

JAMES YOUNG
Advertising Manager

ANNE YOUNG
Production Editor

Vol. 25, No. 4. Published monthly in New York, N. Y., by Amateur Cinema
League, Inc. Subscription rates: $3.00 a year, postpaid, in the United States and
Possessions and in Argentina, Bolivia, Brazil, Chile, Colombia, Costa Rica,
Cuba, Dominican Republic, Ecuador, El Salvador, Guatemala, Haiti, Honduras,
Mexico, Nicaragua, Panama, Paraguay, Peru, Spain and Colonies, Uruguay and
Venezuela; $3.50 a year, postpaid, in Canada, Labrador and Newfoundland;
other countries $4.00 a year, postpaid; to mtmbers of Amateur Cinema League,
Inc. $2.00 a year, postpaid; single copies 25£ (in U. S. A.). On sale at photo-
graphic dealers everywhere. Entered as second class matter, August 3, 1927,
at the Post Office at New York, N. Y., under act of March 3, 1879. Copyright,
1950, by Amateur Cinema League, Inc. Editorial and Publication Office: 420
Lexington Avenue, New York 17, N. Y.. U.S.A. Telephone LExington 2-0270.
West Coast Representative: Edmund J. Kerr, 6605 Hollywood Boulevard, Los
Angeles 28, Calif. Telephone HEmpstead 3171. Advertising rates on application.
Forms close on 10th of preceding month.

CHANGE OF ADDRESS: a change of address must reach us at least by the
twelfth of the month preceding the publication of the number of MOVIE
MAKERS with which it is to take effect.

MOVIE MAKERS

125

utfeiy Jpidu

a » is a

picture
wken its in 70^ J

Revere low prices make it easy

to own quality cine equipment

Only movies capture the action that makes pictures
live — the skill that tames a bronco or lands a
fighting fish . . . the play that wins a sports contest.
That's why you feel you're actually re-living each
thrilling moment when you show it in movies.

There's no trick to taking movies when you use
a Revere camera. If you can take snapshots you
can easily take movies you'll be proud to show.

There is a Revere camera for you, whether you're
a beginner or an expert. And at Revere's low
prices, there's one that's sure to fit your budget,
too. Compare Revere and you'll know why it's
called the value leader!

REVERE CAMERA COMPANY* CHICAGO 16

REVERE "RANGER" 8mm CAMERA

Easy threading ...five speeds, including
slow motion ... interchangea ble lens
mount . . . parallax-corrected built-in view
finder . . . adjustable footage meter . . .
other "high price" features. With fine
F 2.5 Coated Lens.

Tax included, $62.50

REVERE "85" 8mm PROJECTOR

"Theatre quality" brilliance and perform-
ance. Easy to thread . . . fast automatic
re-wind without belts . . . manual clutch for
still projection . . . improved gate assembly
. . . rheostat speed control. Complete with
long-life 500-watt lamp, fast F 1.6 Coated
Lens, 300-foot reel. $99 50

REVERE "16" 16mm
MAGAZINE CAMERA

Brings you instant magazine load . . .
buil t-in, a djustableMicroma tic view finder
. . . new type ratchet-winding key . . .
single frame exposure . . . continuous run
. . . five speeds . . . provision for cable
control . . . footage indicator. F 2.5
Coated Lens.

Tax included, $ ] 3Q.00

CINE EQUIPMENT

In Pursuit of Happiness ReveretAdds to Your Pleasure

126

APRIL 1950

YOU GET THE
SOUND-TRACK

FREE!

with the ALL-NEW

MS22ZF' \f '

16 mm SOUND-ON-FILM
HOME MOUIE CAMERA

$CQCqO at your photo Dealer, or
\jZj\J - write for descriptive Folder
telling how to shoot Home Movies with
Hollywood style sound-tracks, for exactly
the same film cost as silent movies! You
can show your own "Cine-Voice" talking
pictures on any make of 16 mm sound-on-
film projector.

NOW... Shoot your Personal
News Reels in Sound & Color I

Record Sound -Track & Picture
Project Sound & Picture!

Please write for descriptive "Cine-Voice"
Folder. No obligation.

COMPLETE OUTFIT. ..*695°°

Including "Cine Voice' Sound Camera
with high t id e lil y Microphone. Amplifier.
Headphones, all Batteries and Tubes,
Carrying Case, Instructions Camera
uses "C" Mount Lenses (not furnished)
same as most popular 16 mm Cameras

RCA LICENSED &*j%j£si GUARANTEED ONE YEAR

BERNDT-BACH,Inc.

7383 Beverly Blvd., Los Angeles 36, Calif.

MANUFACTURERS OF SOUND-ON-FILM
RECORDING EQUIPMENT SINCE 1931

This department has been added to Movie Makers
because you, the reader, want it. We welcome it
to our columns. This is your place to sound off.
Send us your comments, complaints or compli-
ments. Address : The Reader Writes, Movie
Makers, 420 Lexington Ave., New York !7, N. Y.

PLEASURE TO HELP

Dear Sirs: Only today I received the
February issue of Movie Makers, the
one with the S.O.S. in it for an English
8mm. projector owner to show Miss
Lila Keniff. of Bromley. Kent, films on
behalf of Herbert E. Nelson, ACL. of
Kelso. Wash.

Miss Keniff now has my offer for
any evening, any week. It is a pleasure
to help.

Cecil E. Cove
Orpington, Kent
England

THE SAME DAY

Dear Reader Writes: "This reader
also reads." The same day that we
read the item. Aid in England, in your
February issue we wrote one of our
8mm. members asking him to contact
Miss Keniff forthwith. We are always
glad to help in cases like this.

Leslie M. Frolde
Hon. Secretary
Institute of Amateur Cinematographers,
ACL
Epsom, Surrey, England

To subscriber Cove and our brother
organization in England, our warmest
thanks. Amateur filmers, working through
the ACL and here bridging a gap of some
6000 miles, again have proved their
powerful influence for international
friendship.

INDEX WANTED

Dear Sirs: Why not publish an annual
index for each year of Movie Makers,
which we can place in our binder covers
along with the twelve issues? It would
be a wonderful thing not to have to
look through all one's copies, when you
only want to find a single item.

V. Masone, ACL
Hempstead, L. I., N. Y.

INDEX FOUND

Gentlemen: In planning an 11.000
mile trip around the country last fall,
my wife and I realized we needed some
help in our film planning and camera
treatment of various areas.

The annual index of the different
volumes of Movie Makers referred us
to the June, 1947, issue for an article
on filming Bryce. Zion and the Grand
Canyon, while in the July, 1948, issue
we found Yellowstone. These numbers

were packed with our maps and guide
books and reread before each filming.
Consequently, we have several reels in
color of these and other national monu-
ments of which we are very proud.

F. C. Howell, ACL
Portland. Ore.

There is an annual index, prepared
under both topical and title headings, pub-
lished in December Movie Makers for
each year. For some reason we can't ex-
plain, many readers seem to miss it.

WORTH EVERY CENT

Gentlemen: Attached is my check for
$6.00 to renew membership in the
League. This will be my third year as
an ACL'er, and I want to state that
it's worth every cent of the dues.

Gilbert Giebel, ACL
Fond du Lac. Wise.

MEL SWANSICK, ACL, rail filming fan, has
his picture taken with D.&R.G. No. 278, old-
est narrow gauge locomotive in Colorado.

NARROW GAUGE COUNTRY

Dear Friends: I have recently re-
turned from the heart of the most
beautiful narrow gauge country in
southwestern Colorado, where I filmed
my forthcoming 16mm. color picture.
Adventure on the Rio Grande Southern.
. . . For other rail-filming fans, that
old narrow gauge hog in the picture is
Denver & Rio Grande No. 278, said to
be the oldest and smallest of the old
3-footers in Colorado today.

Mel Swansick, ACL
Denver, Colo.

COLUMN ON SLIDES?

Dear Movie Makers: Like a lot of
other amateur filmers (I think), I find
a 35mm. color slide camera a handy

MOVIE MAKERS

127

NEVER BEFORE HAVE

YOU SEEN A MOVIE CAMERA

LIKE THE...

Never have you seen
features like these in
a camera silling for less
than $100.

• Pull-Press-Click— new
kind of simplified loading

• "No Jam" gate

• No sprockets

• Built-in simplified
exposure guide

• New "Continuous
Running" self-operating
feature

• 4 speeds to 48 frames

• Long run motor

• Coated color-corrected
click-stop f/2.5 lens

uGUUn*"AIV,dl'U mKrUKAIlUn * Lon9 'sl<>nd City 1, N. T. • Los Angeles 15, Calif.

IP MAKERS OF SCIENTIFIC PRECISION EQUIPMENT FOR MORE THAN A QUARTER OF A CENTURY

Carrying cases
in various styles

from 7.50

Compare it with any camera at any price

You don't buy a camera every day. When you do you want the finest

your money can buy. We claim there has never been a camera in the

history of photography giving such exceptional value. But you be the

judge of that. Examine each feature carefully. Compare it with any

camera at any price. Then you'll know why a life-time of movie making

pleasure will be yours with the DeJUR Citation... the camera that will

give you pride in possession, and which is backed by a life-time guarantee.

Write to Depi. F for illustrated descriptive folder:
AMSCO CORPORATION • Long Island City 1, N. Y.

128

APRIL 1950

U. S. Pat. No. 2260368

GOERZ AMERICAN

APOGOR

F:2.3

the movie lens with microscopic
definition successful cameramen
have been waiting for—

A new six element high quality lens for the 16 and
35 mm film camera. Corrected for all aberration at
full opening, giving highest definition in black-&-
white and color. Made by skilled technicians with
many years of optical training.

Fitted to precision focusing mount which moves
the lens smoothly without rotating elements or
shifting image.

This lens comes in C mount for 16 mm cameras.
Fitting to other cameras upon special order.

Sizes available now: 35 and 50 mm uneoated
and 75 mm coated.

Write fur prices, giving your dealer's name.

22£i GOERZ AMERICAN

OPTICAL COMPANY
OFFICE AND FACTORY

317 EAST 34 ST., NEW YORK 16, N. Y.

MM -4

PHOTOGRAPHY

To give your hone movies that "professional touch,"
TRAIN in ALL phases of photography. Home
Study Course includes expert instruction in new

FILM OF THE
MONTH CLUB

A Special BEST FILM pre-
sented each month... BUY
ONLY FILMS YOU WANT.

For first thrilling feature "HOW FE-
MALES (AND MALES) WIN BEAUTY
CONTESTS" (with Charter Membership
Card FREE) order now at these amaz-
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8mm. $2.00 16mm. $4.00

16mm. Sound $5.00
* MAIL THIS COUPON NOW *

THE BEST FILM OF THE MONTH CLUB

2424 Entrance Drive • Hollywood 27 Calif.

Print Your Name

Address

City

Amount Incl.

State

Send C.O.D.

and helpful companion to my movie
work. How're chances of devoting a col-
umn or two in each issue of Movie
Makers to the latest news on slide
equipment, transparencies and tech-

niques :

Dallas, Texas

Robert R. Sheerwood

What do other readers think? If enough
of you express interest, we'll try and
work this in.

ONE BUTTON, SIX DECALS

Gentlemen : As a member of the ACL,
I would recommend the lapel button
and also decals to be used on all equip-
ment ... As soon as they are avail-
able, please send me one button and
six decals.

Rev. Arthur L. Shafer, ACL
Massena, N. Y.

LOOKING FORWARD

Dear ACL: I am enclosing my check
for six dollars to cover membership
for another year. I am looking forward
to the time when we will have a lapel
pin to show we belong to the greatest
movie club in the world.

Charles J. Phaneuf, ACL
Newtonville, Mass.

SAME OPINION

Dear Sirs: May I say in renewing
membership in the ACL that I am of
the same opinion as many other mem-
bers who want some sort of sticker or
button showing ACL membership.

Jerry Kurtz ACL
New York City

ACL members Shafer, Phaneuf, Kurtz
and all others are advised to watch May
Movie Makers for the announcement
they have been awaiting.

WELCOME TO ITALY

Gentlemen: Can you be so kind as to
publish the following in The Reader
If rites column in Movie Makers: I
shall be very glad to welcome ACL
members who go to visit Italy this
summer. They may write or call on me
at the address below.

Achille De Francesco, ACL
Via Bianca di Savoia No. 11
Milano, Italy

RED RIVER VALLEY

Dear ACL: Here's just a line to let
you know what's going on out here in
the rich Red River Valley country. . . .
In 1948 I made a film called In the
Good Old Summer Time, showing the
agricultural activities in our rural com-
munity. At its first screening in the
school building, before an audience of
about 100 persons, $40.00 was col-
lected as a good will offering. We
turned -it over to the school treasurer
to buy equipment for hot lunches.

My film for the summer of 1949
shows the building of a new rural
church here. It is called The Building

LUDWIG GANGNES, ACL, who reports from
the Red River Valley country on farm and
church films he has been making for the
community.

of the Her by Lutheran Church and was
first screened on December 2, 1949, fol-
lowing a church supper.

Ludvig Gangnes, ACL
Argusville, N. D.

ANSWER FOR ANYBODY

Gentlemen: Yes, you may send me
two 16mm. leaders for this amount . . .
Really, I don't know of another organi-
zation that gives its members so much
for a few "bucks" a year! A member-
ship in ACL should be the answer for
anybody interested in amateur cinema-
tography.

Edmund G. Dittmer, ACL
Lincoln, Neb.

HELP YOU HAVE GIVEN

Dear Sirs: It is time to renew my
membership, so here it is and many
thanks for all the suggestions and help
you have given me this past year. I
hope to have a new film to send to you -
for review some time this year.

W. I. Nelson, ACL
Treasurer
Denver Cinema League
Denver, Colo.

Questions ^i
iiiiiBiiiisszaiiiiiiimnl

Answers

FOCUSING VS. FIXED FOCUS

Dear Movie Makers: There was a dis-
cussion the other evening at our club
meeting as to whether you would get

MOVIE MAKERS

129

sharper pictures by using the various
focusing marks on a focusing lens than
you would by setting the lens at 25 feet
so that it functions as a fixed focus
lens. Can you give us your opinion
on this question?

Paul H. Schmidt
Chicago, 111.

Determining comparative sharpness un-
der these two conditions is something
which can be done accurately only on an
optical testing bench. We doubt if any
noticeable difference can be found in
screen images — which is what counts.
However, it is likely that the fixed-focus
use of a focusing lens will be at its best
at the smaller apertures — say, from f/5.6
to //16.

OTHER 8MM. DISSOLVES

Dear Q. and A.: I have just finished
reading Dissolves Without a Backwind,
by Glen H. Turner, ACL, and a very
interesting article it is. But in his illus-
trations he uses only a Bell & Howell
Sportster camera and refers to the "S"
mark on the footage meter.

A lot of us own other 8mm. cameras
that do not have an "S" mark or any
other such indicator, such as my Re-
vere 99 Turret. What would you sug-
gest in my case, if I wanted to do as
he does?

Douglas Archer, ACL
Beverly Hills. Calif.

The "S" mark on the Filmo Sportster
footage meter stands for "Start." It is
the position at which the meter should
be set while threading the camera. Since
the threading operation fogs a small
amount of footage, the camera (after
being threaded and closed) is then run
to the "O" mark on the meter dial. This
displaces the fogged leader footage with
good film, and you are ready to start
shooting.

Owners of other 8mm. roll cameras
need only to follow the same general
procedure outlined above — which they
must do in any case for regular filming.
If there is no "Start" mark on your foot-
age dial, why not scratch one on it?

EXCHANGE TO ENGLAND

Dear Movie Makers: I have been cor-
responding enjoyably for the past
eighteen months with an English ama-
teur I met through this column. I am
now thinking of sending him some raw
film to expose in England and return
to me, as well as some of my processed
films to look at and return. Can you
tell me what problems and duties he or
I might incur in this exchange?

Charles F. Teed, ACL
Sidney, N. Y.

You will not be involved in problems
or duties of any kind, since (thanks to
action by the ACL) film of American
manufacture returned to this country is
duty free. For all film your English friend
imports, either temporarily or permanent-
ly, he must secure from his government
an import license. If this is granted, he
will then be liable to duties of 1/3 of an
English pence per foot on the raw film.
1 pence per foot on the processed pictures.

MOVIES IN MODESTO

Dear Sirs: I am very anxious to con-
tact any movie amateurs in the city of
Modesto. Calif., or in the vicinity of
Riverbank, Salida or Ceres, just a few
miles from Modesto.

Harvey B. Woodworth, Jr., ACL
142 Otsego Avenue
San Francisco 12, Calif.

KEEN YOUNG AMATEUR?

Dear Sirs: Through the medium of
your excellent journal, I would like to
contact any keen young amateur inter-
ested in regular exchange of corre-
spondence and cine magazines.

R. K. Caveen
12 Birket Avenue
Leasowe, Wirral.
Cheshire, England

FEBRUARY '48 NEEDED

Gentlemen: A French member of the
ACL would like to receive February.
1948, issue of Movie Makers, which
is missing in his collection. Is this pos-
sible?

If so, I will in exchange send to the
first person answering any French book
or magazine dealing with amateur or
professional pictures.

A. Rossi, ACL
216 Boulevard Raspail
Paris 14. France

GOLD COAST FOR COWBOYS

Dear Swap Shop: I shall be pleased
to hear from any 8mm. enthusiast who
can offer Western scenes — rodeos, cow-
boys, Indians and railroad scenes of
the old type of locomotives (not stream-
liners). In exchange I can offer shots
of Accra, on the Gold Coast of West
Africa — but only in black and white,
I'm afraid.

S. Johnstone
District Pay Office, Giffard Camp
Accra. Gold Coast, West Africa

FRANCO-AMERICAN

Dear Sirs: A young Frenchman de-
sires to correspond with an American
who knows, if possible, a little French
and is seriously interested in amateur
cinematography.

Alain Guyard
47 rue Nicolas Boileau
Vierzon (Cher), France

HOW TO MAKE

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131

TIPS ON TITLING

"I like 'em upright!" says this experienced 8mm.

amateur, in vouching for the vertical titler

GEORGE A. VALENTINE

WHEN it comes to title making systems, this 8mm.
movie maker has probably tried them all. I
have used the small titler with typewritten cards,
a horizontal titler with hand lettered cards, architects
lettering guides and a hand driven printing press. From
this experience, I have come to two conclusions: (1) a
vertical titling setup with movable letters on a large card
area is the most versatile; (2l it is just as easy to make
good titles as poor ones — once you get through experi-
menting. Thus, if your own titling results thus far have
been off the beam, perhaps my findings will save vou
further disappointment.

ESSENTIALS OF VERTICAL TITLER
Essentially, a vertical titling setup is pretty much what
its name indicates. The important parts are three: ill
some form of vertical support for the camera ; I 2 I some
form of horizontal titling easel or area, and I 3 I a semi-
permanent but adjustable lighting setup bearing on the
titling area. The vertical camera support may or may
not provide for moving the camera up and down, to
accommodate title cards of varying size. But it must be
rigid in structure and truly vertical to the horizontal
plane of the titling area.

My version of these essentials will be seen in Fig. 1.
It is, as you can see, constructed of wood and, though
roughly finished off, sturdy in its design. The basic
height of this unit, camera to card, is 36 inches, pro-
viding for the use of easy-to-work-with 12 by 18 inch
title cards. A certain amount of adjustment in the height

of the camera is provided bv the short-legged frame rest-
ing on top of the main uprights, since this may or may
not be inserted in the setup.

CENTERING THE CAMERA

The uppermost frame resting on this middle unit is
the camera carrier itself. Here the camera is attached with
a tripod screw installation, and it is accurately re-centered
on the title card by positioning it against a brace built
into the carrier unit.

With a vertical titling setup, the original centering
of your camera on the title card is best done with a
plumb line (see Fig. 1). The procedure is simple and
inescapably accurate. Taking a filter holder which fits
snugly on the lens to be used for title work I probably
your standard lens ) . remove the filter from the holder
and substitute a circle of heavy cardboard. Punch a hole
in the exact center of this cardboard circle, thread it
with the plumb line and attach the filter holder to the
lens so that the bob just clears the titling surface I see
Fig. 21.

Now on this surface draw intersecting diagonals con-
necting opposite corners. Where they cross will be. of
course, the exact center of the titling area. Maneuver the
camera slowly in its upright position until the plumb bob
rests directly over the intersecting lines — and your cam-
era is perfectly centered. Some form of brace is then
constructed on the camera carrier so that this centered
position may be duplicated at will.

LIGHTING ARRANGEMENTS
Another advantage of the vertical
titling setup is the ease and adjustability
of the lighting arrangements. At the
sides of Fig. 1 can be seen the rough
but wholly effective lighting stands
which I constructed, again out of wood.
Both are movable, and the individual
RFL-2 bulbs mounted in clamp-on hold-
ers can likewise be moved up and down
[Continued on page 149]

FIG. 2. Plumb-bob centering on inter-
secting lines of title easel guarantees
perfect placing of camera at all times.

FIG. 3: Ease of operation is assured
FIG. 1: Upright titling unit outlined by author is with large card at hand level and mov-
seen above, with plumb line in place. able letters secured only thru gravity.

132

COLOR AND THE WEATHER

Are you a "one-light" cameraman? A basic understanding of how

weather conditions affect color values will aid your outdoor filming

EARL CLARK, Director, Associated Screen Studios

IN his search for photographic perfection, the observant
cameraman soon discovers that he must become a

practicing meteorologist, in addition to his more com-
monly accepted abilities as artist, technician and dreamer.

For color and weather are synonymous. From the
receipt of his first bluish-tinted scenes filmed under an
overcast sky, the cameraman becomes inescapably ac-
quainted with the fact that weather is a prime factor in
determining color rendition. He notes the loss of definition
occasioned by fog, rain and snow. He is puzzled by the
inevitable loss of brilliancy in sunless scenes, even though
the picture may be perfectly exposed. He finds that the
crystal clear scenes of springtime will not intercut well
with scenes filmed in the traditional atmospheric haze
of autumn.

A "ONE-LIGHT" CAMERAMAN

Cumulus and cirrus clouds will come to mean more to
him than mere elements in a landscape composition. They
. will forecast his length of shooting time and impose color
restrictions unknown to his black-and-white brethren.

The combined weight of these restrictive observations
has made many an amateur and professional worker
into a "one-light" cameraman. 'Wo sun — no shooting."

With all due respect for the undeniable virtues of Old
Sol, it should not be forgotten that excellent photographic
opportunities await the observant in dull or stormy
weather. The most unforgettable scenes are usually those
in which one has made perceptive use of conditions and
subject matter overlooked by cameramen at large.

BEST LIGHTING VARIES

As a matter of fact, the unrelieved, hard summer sun
can be an unsatisfactory light source for certain subjects
— portraits and some landscapes, for instance. Closeups
of people under a clear sun, without the diffusing aid
of reflectors, are deeply shadowed and have too much
contrast. Woodland scenes, in which the sun is pro-
jected into a dark wood in hot, bright patches, are diffi-
cult to balance for exposure. In both cases, a softer light
from an overcast sky will achieve less contrast and a

better color balance. To offset the bluish cast of such
sunless filming, a warm filter may be employed, such as
the new Kodak Skylight Filter (Wratten 1-A) which re-
places the older Haze Filter in this function.

BALANCE DEPENDS ON CONTRAST

Now, there is a principle at stake here that may well
serve as a guide for color filming under all weather con-
ditions. Good pictures, in any weather, have good color
balance. This balance is achieved in one of two ways:
(1) by lighting with the sun, or (2) by the intelligent
use of complementary colors in composing a dull weather
picture.

To state it differently, all color scenes require enough
contrast to secure definition and to promote composition
and clarity. Yet too much contrast can be as disastrous
to pictorial composition as too little contrast can be in-
effective.

SUNLIGHT OR SKYLIGHT?

Let us illustrate. The sun, in highlighting a scene, pro-
vides enough contrast between sky, background and sub-
ject matter to make a scene visually exciting. The slight
shadows that are visible are translucent and help to give
a third dimensional effect. But if the shadows become too
prominent, or dense, as in the closeup of a face, the
picture loses the unity which it possessed before the heavy
shadows broke it up.

On the other hand, under sunless conditions, the light
is usually so flat that it provides too little contrast on
the scene itself — while the sky is over-contrasted. As
stated previously, many cameramen have come to fear
this condition and dislike filming in poor weather. But
the fear is unnecessarily exaggerated. The necessary color
contrast can be readily obtained by arranging a fore-
ground of complementary colors; i.e., people in bright
clothes, or any subject matter that will stand out against
the drab background. The only requirement in com-
posing such a dull-weather scene would be to see that
all picture elements possess a density within the two-stop
latitude of color film.

THE SILHOUETTE is excellent and dramatic
answer to high exposure contrasts between
stormy sunset skies and darker foreground.

LOW CONTRAST scenes under cloudy skies
can be saved by placing brightly clad fig-
ures in foreground. Girl is wearing red jacket.

EVEN FILMING in the fog can be brilliantly
effective by shooting against low light of
late afternoon. Exposure is for foreground.

133

16mm. scenes bv Associated Screen Studios

HIGH CONTRAST between subject and set-
ting means that one element must be featured
over other. Exposure here is for speedboat.

PURE SUNLIGHT on a portrait closeup calls
for reflector on off-light side to lighten
shadows. Plain sheet of newspaper will do.

BACK LIGHTING on snow scenes, with sun
hidden behind tree, reduces overall contrast
and creates strong sense of linear depth.

SOLUTIONS IN SUMMER

Be that as it may, the vagaries of weather which pro-
duce too little or too great a photographic contrast can
be circumvented. Any filmer, armed with the knowledge
of his problem, can be an "all-light" cameraman. He
will be limited only by his ability to achieve normal con-
trast.

Interestingly enough, the problems and the solutions
to them vary almost diametrically with the opposing
seasons. We have already noted that on a sunny, summer
day the contrast between sky and ground is normal. The
contrast becomes too great only when the sky is over-
cast. But the reverse is true in winter. Then the contrast
between sky and snow-covered ground is at its greatest
when the sun is shining. An overcast will more evenly
balance ground and sky but will lose the important snow
shadows which are so vital to good winter camera work.

Then, too, in summer the rule-of-thumb filmer flat-lights
his scene by placing the sun behind his shoulders. In
wintertime, he should reverse his technique and, with few
exceptions, shoot into the sun for a back lighted scene.

SOLUTIONS IN WINTER

While it is true that such back lighting will lend a
sparkle to snow that is impossible to obtain under flat
light, the important reason for back lighting snow scenes
is to reduce color contrast and make possible a good
exposure. Just consider the color balance in a flat lighted
winter landscape. The snow will read a high //16. A
skier might read a normal f/8. The dark blue winter
sky will be around f/5.6. Such a range of contrast in one
scene is outside the latitude of color film.

Now note what happens when the same landscape is
back lighted. The dark sky will lighten to f/6.3. The
skier may darken to f/5.6. But,
most important, the high-reading,
brilliant snow, which made the
flat lighted scene impossible of
rendition, will cast dark blue
shadows to reduce its brilliancy
to a normal f/8. Thus, all com-
ponents will come well within good
color range.

SUMMING UP
There are other, less fundamen-
tal facts of color filming and the
weather. But before going on to

them, let us sum up briefly the -___ ,,.UT , ,. ,

. , ,r , J . SOFT LIGHT of high

major lessons we have learned warm bri||iance to a:

thus tar: out disrupting balance

, 1. Good pictures, in any weather, have good color
balance. This means, in turn, that our scenes should have
enough contrast to assure definition and promote com-
position, but not so great a contrast range as to destroy
balance or so little as to lose effectiveness.

2. In summer, this optimum contrast range between
sky and setting is obtained under full-front sunlight. With
overcast skylight, the contrast range between sky and
setting becomes too great, while the contrast between
colors in the setting becomes too little.

3. In winter snow scenes, the optimum contrast range
is obtained under sunlight striking the scenes from the
back. Front sunlight on snow scenes creates too great
a contrast range, while overcast skylight, although giving
acceptable balance between sky and setting, loses bril-
liance in scene detail.

SPECIAL SITUATIONS

And now, what of the lesser items? Well, for ex-
ample . . .

No haze filter is necessary for hazy backgrounds. The
soft, light blue color provides an excellent backdrop for
a foreground of rich, warm tones.

A cloudy day, with cumulus clouds of not more than
five-tenths density (that is, half cloud and half sky) is
perfect shooting weather. A clear sky is less favorable,
since the light is harder and there are -no clouds for
composition purposes.

Spectacular sunsets are obtained only in broken or
overcast weather. A clear sky possesses no clouds to
reflect the colorful hues across the horizon.

Finally, remember that weather does not change. It
only moves from place to place. Thus, an elementary
knowledge of how warm and [Continued on page 151]

cirrus clouds imparts
I color scenes with-
with heavy shadows.

CUMULUS CLOUDS, a fair-weather guide which
builds' in summer to dramatic thunderheads,
make pleasing backdrop for cine portraits.

134

Birthdays with bounce f>T)

There's more to party films than presents and frosting,

declares this movie making mother of four

AMY WRAY HILTON

THE FAMILY FILM

BIRTHDAY parties got you puzzled? Has your camera
greeted the guests, pictured the presents and close-
upped the cake more times than are worth telling?
Trouble is, of course, that one birthday party is much
like another, and that most of the movie making action
is centered around the static confines of the dinner table.

This year, then, why not do it differently? How about
catering to the kids' taste with a junior grade midway?
The youngsters will respond to the carnival atmosphere
with a good deal more verve and vigor. Your heir will
hail it as a better party — and youTl get a better picture.
Transforming a corner of your home into a reasonable
facsimile of an amusement park is simpler than you
might think.

If the season and climate are favorable, the backyard
is your best place to set up props, for there the small
guests will have a wider range of action, and Old Sol
will handle your lighting problems for you. But if the
weather or the hour restricts the celebration to an inside
job, your garage, game room, spare room or any room
in the house that has a minimum of furnishings can be
used as the fairgrounds. A garage often has the added
advantage of unfinished rafters which will facilitate over-
head lighting, while a sprinkling of tanbark across the

Harold M. Lambert from Frederic Lewis

A MIDGET MIDWAY, complete with popcorn, peanuts and pink
lemonade, offers lively background for a different birthday film.

cement will give it the full flavor of a real midway.

Since splash and color are prime requisites for the
junior set, there is no purpose in spending any great
amount of time or money in the execution of your mid-
way. You can assemble six or eight small booths out of
orange crates and loose planking, but remember to keep
your fixtures in Lilliputian proportions. Cover the stands
or booths with colored cheesecloth bunting or crepe paper.
If you are working inside, set up the stalls around the
four sides of your room, so that you will have the center
free for your tripod.

Where artificial light is called for, it is almost im-
perative that you work out an overhead lighting arrange-
ment to give the kids their head. The picture moldings,
a central chandelier or the aforementioned rafters have
been used successfully in the past to accomplish this.
(See also Lighting Should Be High, February, 1949, and
Build A Light Boom, January, 1950 — Ed. ) If outdoors,
place the booths in a single row to take advantage of the
afternoon sun. Embellish the booths with pertinent posters
lettered in bright tempera, add any realistic or whimsical
touches that may occur to you in the process of decorat-
ing, and you will wind up with a babe's eye view of
Coney Island.

No midway is complete without its shooting gallery,
so equip one of the booths with a pop gun and target
rack with a row of cardboard ducks or plastic figures to
engage the young marksmen. A child's archery set (the
suction-tipped arrow variety) can occupy a second booth.
Others of the stalls may be consigned to quoit tossing,
a bean bag concession for the post-diaper set, or a line
of milk bottles containing two or three candy kisses which
the player claims on ringing a bottle with an embroidery
hoop. Teaching the youngsters to gamble? I don't think
so; just showing them at an impressionable age that the
odds are with the house.

Arrange to have your refreshment booths along one
side of the room. Except for the traditional cake and
candles, try and keep your offerings in character with
carnival confections (i.e., small sacks of popcorn and
peanuts, ice cream sticks, pink lemonade and candied
apples). It will probably be wise to wait until the party
is well under way before you open the refreshment stands.

Unless you have an especially spacious room or yard,
it probably will be a good idea to restrict your guest list
to no more than a dozen youngsters. Since children are
likely to operate on the theory that the best things in
life are not free, you can make the occasion much more
exciting by supplying them with toy money as they arrive,
so that they may patronize the concessions on an adult
cash-and-carry basis. Let the children draw to see who
plays barker and who plays customer for the first thirty
minutes of the party; by changing shifts on the half hour
you will give everyone a chance at everything. Gauge your
games and amusements to your age level, of course, but
don't "play down" to the gang. [Continued on page 151]

135

TYPED TITLES CAN BE WHITE

Photographs by Ernest H. Kremer, \(l.

Follow this simple system for typed title
letters on black or colored backgrounds

MATT BENNETT

THERE is probably no argument among the filming
fraternity that the most pleasing titles are those
lettered in white on a dark or colored background.
And, if you are using one of the larger titling setups,
with cards measuring around 9 by 12 inches, there is
little difficulty in following this system. You get a set of
white-surfaced letters I either of the stick-on or pin type),
you lay them out on your large card and you shoot.
The process is simple, and the results are excellent.

But suppose that you're using one of the small, sheet-
metal titlers. the kind with a card around 3 by 5 inches.
the kind on which the copy is generally set up on the
typewriter. The larger, white letters won't fit. And the
typed letters are inevitably in black on a light back-
ground. Shooting them as-is on color film isn't effective.
You try reversing the values by shooting on positive film
and developing it to a negative. But the white on black
results aren't pleasing with colored pictures. Even toning
them (see Emergency Titles, July, 1949 — Ed.) isn't
wholly the answer. And besides you can't use a fade-in
or fade-out with positive film. \ou decide, reluctantly,
that the typewriter titler is out, as far as white letters are
concerned.

And that's exactly where you're wrong. I have re-
cently worked out a system of creating typewritten titles
in white on black that is so simple I'm amazed I hadn't
thought of it earlier. Perhaps other filmers have. But,
in any case, here it is: and it can be used with equal
success in making black and white titles on reversal film,
white lettered titles directly on color film, or white let-
tered titles double exposed on colored backgrounds, live
or otherwise.

Here's all that's needed: a typewriter with reasonably
sharp type faces; two sheets of [Continued on page 148]

FIG. 1: With typewriter set for "stencil" so that the ribbon does
not function, title is typed directly on back of carbon.

FIG. 2: Sharp carbon imprint of title is made on front and back
of thin paper, assuring maximum density of the image.

FIG. 3: Carbon imprint on this paper is used as a negative
photo printing frame to create white-on-black title card.

FIG. 4: Reverse positive of original typed title copy may be
filmed direct on monochrome or double expo:ed in color.

136

THE ROADS

TO ROME

ST. PETER'S BASILICA (above), flanked by Michelangelo's impressive col-
onnade, will be the goal of goals for all Holy Year pilgrims. At left is
noble Corinthian porch and mural facade of St. Paul's Outside-The-Walls.

LAST Christmas Eve the gentle blows of a silver hammer
on the great door of St. Peter's Basilica in Rome re-
echoed through the age old edifice, awakening memo-
ries of nearly 2000 years of church history. The heavy
door, bricked up save on such occasions as this, slowly
gave way. Then His Holiness, Pope Pius XII, kneeling on
the threshold as he intoned the sacred Te Deum, called
upon the faithful the world over to join him in their
Church's Jubilee. At the same moment, cardinals espe-
cially deputized by the Pope conducted the symbolic
Porta Santa (Holy Door) ceremony in the three other
patriarchal basilicas in Rome, officially ushering in the
twenty fourth Holy Year.

DON CHARBONNEAU, ACL

Sacred or secular, here's what to film during

your visit to Rome's twenty fourth Holy Year

ST. JOHN LATERAN, begun in 3rd Century, is oldest Catholic basilica in
world and now cathedral of Bishop of Rome. Building above dates from 1560.

HISTORY OF THE HOLY YEAR

Six and a half centuries earlier, on Christmas Eve, 1299,
Boniface VIII had proclaimed the first Holy Year, in
commemoration of the founding of the Church. The pon-
tiff's edict granted special blessings in the form of indul-
gences to those who made the long and often
hazardous journey to Rome and established
the church custom of a centennial jubilee com-
memorating the Nativity of Christ. The inter-
val was subsequently reduced to fifty years,
then thirty three and finally fixed, in 1475, at
twenty five years, a custom adhered to ever
since.

This year's religious festival is expected to
attract between three and seven million per-
sons, among them over 300,000 Americans.
While the chief purpose of the pilgrimage is
a spiritual one, for many this will be their
first glimpse of the Old World and its treas-
ures. They will want to bring back some lasting
memento of the trip.

For the amateur filmer this will naturally
take the form of film, and it is with them in
mind that Movie Makers presents here sug-
gestions to help make their record of the pil-
grimage a rich and varied one. As for customs
charges, the Italian National Tourist Office
informs us that all cameras and a reasonable
amount of film (eight to ten rolls) carried by
Holy Year visitors will be admitted free of
duty.

137

Photographs courtesy Italian National Tourist Bureau

CASTEL SANT' ANGELO (above), as seen from the Tiber bridge of the same
name, began life in 136 A.D. as Hadrian's tomb, became fortress in 590
following legendary miracle. Basilica of St. Mary Major is seen at right.

THE GOAL IS ROME
Since Rome is the focal point of the pilgrimages, as
well as the place where you are likely to spend the longest
time, we have concentrated on it most of our attention.
Here one of the pilgrim's primary obligations will be to
visit the four great basilicas of the capital. The greatest
of these is St. Peter's, built over the burial place of the
Prince of the Apostles and near the scene of his martyr-
dom in Nero's Circus. Begun in 1452. it took nearly 200
years to complete and is the work of the foremost Renais-
sance artists. Chief among them was Michelangelo, whose
final plans the present structure and approaches represent.

VIEWPOINTS FOR ST. PETER'S
Largest of the Vatican buildings. St. Peters great white
dome is a dominant feature of the Roman landscape. \ou
can get good long shots of it from a dozen different van-
tage points — from the summit of the Janiculum. the mouth
of the Piazza Rusticucci. the banks of the Tiber just above
the Ponte Sant' Angelo. to name three. If you can gain
access to the roofs of buildings adjacent to the wide col-
onnaded square, you can add some interesting medium
views. Don't neglect the Egyptian obelisk in the center of
the piazza. Older than Rome itself, this was brought back
as a war trophy from Egypt by Caligula.
Moving in nearer for some close shots, be sure
to include detailed study of the 15th Century
bronze doors. Beyond them your camera may
not be carried, since no interior photography
of holy shrines will be permitted. Movie
Makers has been informed, however, that
check rooms are planned in strategic places.

LEGEND OF SANT' ANGELO
Round out your record of the Basilica of
St. Peter's with shots of the Vatican Palace,
the Pope's residence and Papal Library, the
gardens and other buildings of Vatican City.
Nearby is famed Castel Sant' Angelo. across
the bridge of the same name. Built in 136 A.D.
by the Emperor Hadrian as a burial place for
Roman emperors, it later became a fortress.
Here, in 590, legend has it that Pope Gregory
the Great was conducting a service beseeching
the end of the plague, when he saw an angel

atop the fortress sheathing his sword. The plague ceased,
and the formidable prison became from then on the Castel
Sant" Angelo.

ST. JOHN LATERAN

Second in importance to St. Peter's is the basilica of
St. John Lateran. oldest Catholic church in the world and
now the Cathedral of the Bishop of Rome. Situated on
the Caelius (or Coelian) Hill, it derives its name from an
old Roman family, the Laterani. The original palace be-
came the property of Emperor Constantine. who gave it to
Pope Miltiades for a papal residence. Later Constantine
built a basilica in one part of the palace, only portions of
which form part of the present structure which dates from
about 1560. The most notable feature, aside from its noble
baroque style of architecture, is the Scala Santa (the holv
stairs ) . a flight of twenty eight marble steps from the
house of Pilate in Jerusalem, which Christ ascended to
stand trial. Pilgrims commonly climb these on hands and
knees as a special devotion. The famous fresco painted
by Giotto in the 14th Century to commemorate the first
Jubilee is to be found here also. A beautiful view of St.
John Lateran may be had from atop Aurelians Wall in Pi-
azza San Croce in Gerusalemme. [Continued on page 157]

THE ROMAN FORUM, a stark but stirring symbol of Roman civilization at
its greatest, huddles today at base of modern Victor Emmanuel monument.

138

SIMULATED DOLLY SHOTS

Effective shots of vehicles, horse-
men, people walking and the like,
which look as if they had been taken
by a camera moving alongside the
subject, can be made without a dolly
or other moving camera setup.

The ideal theoretical arrangement
is for the subject to move around
the circumference of a small circle,
with the camera panning to follow
the movement from the circle's center.
This is. however, difficult to execute.
A simpler trick is to pull your camera
way back, shoot with a 3 to 4 times
telephoto, and follow the moving sub-
ject as it passes by you in a straight
line. The effect is almost the same.
Neal Du Brey, ACL
Durban. South Africa.

POCKET REFLECTOR

I was truly amazed at the full
length reflector surface outlined by
Edward W. Beach, ACL, in February
Clinic under the heading, Portable
Reflector. Here's my design, which,
when folded, fits in your pocket or
camera case.

Paste nine squares of cardboard
on a piece of linen, with little spaces
between all edges. Attach to the back
sides of the four corner squares small
straps of linen tape, as shown in the
diagram. Have four slim wooden
dowels ( even pencils will do ) to place
under the straps when the linen-

COLLAPSING reflector surface worked out by
A. Rossi, ACL, is comprised of small cardboard
squares mounted on linen so that they fold up
along outlines to fit in the pocket.

mounted squares are unfolded. Coat
one side with metallic paper for a
hard surface, the other with white
paint for diffused reflection.

As for the size? This depends on
the size of your pocket. My squares
are about 6 inches on a side, giving
an overall surface 18 by 18 inches
in size.

A. Rossi, ACL
Paris, France

PROJECTION TABLE

Enclosed are photos of a portable
projection table which I built recent-
ly. Designed to accommodate both
my 8mm. projector and a Webster
wire recorder, it positions both instru-
ments so as to give handy and im-
mediate access to all controls. The

Pictures, plans and ideas to
solve your filming problems

space under the projector (needed
functionally to elevate the machine)
is put to good use for storing exten-
sion cords, extra reels and projection
lamp, aperture brush and lens clean*
ing tissue. Since the legs are detach-
able, the entire assembly is easily
portable and handily stored.

Glen H. Turner, ACL
Springville, Utah

HANDY EXPOSURE CHART

The March Clinic item, Exposure
to Order, by William H. Ashcroft,
ACL, beat me to it by a month. But
it has moved me to send you my
solution to the same problem.

Tired of shoving my exposure
meter in subjects' faces time after
time, 1 decided (as did Mr. Ashcroft)
that what was correct exposure one
time with my lighting bar at, say, 10
feet from the subject, would be cor-
rect exposure every time under the
same circumstances. Therefore, I
carefully compiled a series of stand-
ard exposures for average subjects
at light-to-subject distances of 3 to
18 feet. It is appended herewith:

FEET 3 4 5 6 7 8 9 10 12 15 18
F/No. 8 7 5.6 4.5 4 3.5 3.2 2.8 2.2 1.8 1.4

This chart, clearly lettered, is
pasted on the back of my lighting
bar. For those filmers who want to
follow it, the data submitted are for
Type A Kodachrome exposed under
four of the new 375 watt medium
beam photofloods.

John Gavrian, ACL
Dayton, Ohio

PORTABLE projection stand, designed by Glen
H. Turner, ACL, positions 8mm. projector and
wire recorder so that all controls are handy,
shutter flicker scans the stroboscopic disc. Shot
above shows unit in knocked-down state, which
has been improved by detaching housing.

CONTRIBUTORS

The Clinic are paid from $2.00 to $5.00
for ideas and illustrations published.

Your contributions are cordially in-
vited. Address them to: The Clinic,
Movie Makers. 420 Lexington Avenue,
New York 17, N. Y.

Please do not

(tlit-r magazines.

il.mii identical items to

139

A simple viewer

LEWIS C. COOK, ACL

GOT an old tin can lying around the house? An
icepick? A screwdriver? Then you're well on the
way to building yourself a simple film viewer. A
continuous viewer, this one. not the action type; but it's
swell for spotting scene changes. And, it being sprocket-
less, you don't have to thread and unthread the film.

I think the diagrams and pictures make the design
clear. The 4 by 6 inch piece of veneer is used for the
baseboard, the other for the upright. Probably better
cut and mount the tin can first. It serves as the lamp
housing, accepting the small socket and bulb through a
hole cut in the upright. The opening in the can which
exposes the viewing light I cut w ith household scissors
and then bent in the rough edges by hand. The icepick
made the holes on each side of the can for the stove bolts
which hold it to the angle irons.

With the lamphouse in place, you are now ready to
position the four film rollers and two idlers from the
empty film magazines. The rollers should be raised just
high enough on the board so that the film never touches
the can. and the idlers should be placed low enough to
maintain tension on the passing film.

The magnifying glass I picked up at the dime store.
It is positioned in a 45 degree slot cut into the top edge
of the upright. Drive a screw there with a head small
enough to slip through viewing glass handle.

,ljf SQ. CUT OUT

¥p

<& — @

-irvj

cf)

15 WATT LAMP

SIMPLE ELEMENTS of this continuous-vision film viewer are seen above
ready for final assembly. Lamp socket extends through hole in upright.

COMPLETED VIEWER is mounted between rewinds and alongside splicer
Tin can used (2 by 3 inches) is one quart size of Eastman developer.

PLAN VIEW

FILM TRAVEL is over sprocketless rollers and idlers, saving time and
trouble of threading. Magnified image shows two full frames at once.

■+

45° CUT OUT FOR VIEWER

A "1 ft

VIEWING GLASS ON
1 45° ANGLE

2"DIA. CAN

| | DIA. HOLE

FRONT VIEW

ALE PLUG

MATERIALS NEEDED

2 8mm. or 16mm. film magazines
1 piece of veneer 5" by 6"

1 piece of veneer 4" by 6"

2 angle irons lv2"

4 flat-head wood screws '4" long

fcr angle irons
2 small stove bolts '4" long for

angle irons
1 Christmas tree (34") socket
1 110 volt 15 watt lamp
4 round-head screws (3s" by l^"^

for film rollers
8 washers (3s") for front and back

of each roller
1 short extension cord and plug
1 Wi" viewing glass
1 2" by 3" can

140

APRIL 1950

Tfe bis M&M prefers...

Photographs color as you see if"

says JOHN ARNOLD, A1GM Executive Director of Photography

"Here at MGM we have preferred and used Bell & Howell's Tay-
lor Hobson Cooke lenses for many years — in fact ever since pan-
chromatic and color films imposed much higher demands on the
lens. These lenses photograph color as you see it, with crisp, sharp
detail even to the very edge of the picture. We find them im-
mensely superior for black-and-white, as well.

"Some of our current releases, such as battleground, adam's
rib, and father of the bride, are good examples of the superlative
photographic quality we obtain with Taylor Hobson Cooke lenses."

Look at the exclusive advantages this new
lens series offers you!

HIGHEST CORRECTION ever developed in any lenses in the
16mm field. Sharpness and contrast are the same for all
of the lenses regardless of focal length.

T-STOP CALIBRATIONS to give you absolutely uniform ex-
posures at any given T-stop from lens to lens. A brand
new development for amateurs !

UNIFORM -STEP MAGNIFICATION. Same type of focal length
series used by Hollywood studios . . . now adapted for
amateur use.

WIDE SELECTION. A family of seven lenses to choose from.
The four shown are now available.

.7-INCH T 2.7 (F/2.5)
B&H Super Comat. Click
stops, focusing mount, fits all
C-mount 16mm cameras.
Filmocoted. $85.25

2-INCH T 1.6 (F/1.4)
Taylor Hobson Cooke Ivo-
tal. Click stops, focusing
mount, fits all standard C-
mount 16mm cameras . . . also
available for B&H snap-on
mount 8mm cameras. $169.20

2.8-INCH T 2.5 (F/2.3)
Taylor Hobson Cooke Pan-
chrotal. Same features as 2-
inch lens. Has extra legible
depth of field scale. $171.50

4-INCH T 2.5 (F/2.3)
Taylor Hobson Cooke Pan-
chrotal. Same features as
2.8-inch lens. Nearly 50%
faster than the fastest of
other leading 4-inch lenses
—400% faster than the slow-
est! $198.35

MOVIE MAKERS

141

Another

Hollywood

favorite...

THE BELL & HOWELL 70-DE CAMERA is one of the most versatile in the 16mm field. It
operates at seven governor-controlled film speeds, has a three-lens turret with matching pos-
itive finders. Other features are a critical focuser, rewind knob and hand crank to
permit back winding of the film for lap dissolves and double exposures. A 204° open seg-
ment shutter gives a 1/40 of a second exposure at sound (24 frames) speed.

You buy for a lifetime when you

by Bell & Howell

Auto Load Owners! Don't miss this!

ow you can greatly increase the picture-taking possibilities of your Auto Load camera
— at a special low price!

Your Bell & Howell dealer will convert your Auto Load to a turret model for only $59.95,
complete! The usual price is $75.00. This offer is good only until July 1, 1950.

With summer coming you'll want to be prepared for all its movie-making opportunities.
And with the.B&H turret head on your camera you'll have 3-lens versatility at your fingertips.

Better act now. Take your Auto Load to your Bell & Howell dealer right away !

142

CROSS LIGHTING and cloud backdrop were
planned by producer Ralph Gray, FACL, for this
shot from Typical Times in Tropics, 1946 winner.

EXTREME CLOSEUPS, made later at home, add
human interest to large canvas of Adventure on
the Colorado, 1947 winner by Al Morton, FACL.

DIAGONAL COMPOSITIONS and high key light-
ing enhance baby scenes in The Unexpected,
Maxim winner in 1948 by Ernest Kremer, ACL.

SIMPLE BUT SATISFYING is this spyglass effect
created by Glen Turner, ACL, with circular mask
in titler for One Summer Day, 1949 Maxim winner.

IMAGINATION

makes the movie

SIDNEY MORITZ, ACL

A FRIEND of mine, about to acquire his first movie camera, put
an interesting question to me: "What do you believe to be
the requisites for successful movie making?"
"Technical skill," I replied, "a feeling for composition and a vivid
imagination."

The last, I continued, is by far the most important. For adequately
exposed and well balanced pictures will have some appeal; but they
soon will lose their allure unless imaginatively treated. The picture
that really holds interest is the creation of the mind, rather than of
the movie camera.

STUDY AWARD WINNERS
Surely one of the best ways of stimulating your imagination is to
study those films produced by imaginative movie makers. Analyze
the pictures which have placed among Movie Makers international
selection of the Ten Best. Examine the winners in your own movie
club contests. What do these productions have that yours may lack?
Invariably it will be found that the finest films are the most original.
They do something to you, they stir your emotions, hold your interest
or bring you pleasure. They reflect, above all, the personality of the
maker, showing clearly that he here has created something which
existed heretofore only in his imagination.

TEN IMAGINATIVE TOUCHES
Their techniques, their special touches may be small advances
individually. But in the aggregate they invariably add up to a crea-
tive whole. Let's analyze them, if we can, beginning with the simplest
suggestions.

1. Remember, first of all, that you are making a movie. While
there's a place for placidity, action is more often the most effective.
A mountain lake may be lovely in the light of dawn. But it will make
a better movie if a breath of wind just breaks the crystal calm.

2. Pack your picture with material rich in appeal. Children, babies,
attractive girls, picturesque types and animals fall easily into this
category. Many a travelog totters to a standstill for lack of human
interest. Yet it may require only a little resourcefulness, patience or
courtesy to add to your picture the vital appeal of human interest.

3. Carry your audience in as close to your subject as is possible.
In a travel film, for example, think of them as tourists and bring them
with you into the market place. Imaginative filmers make liberal use
of the closeup.

4. A creative cameraman molds his material into its most pleasing
aspects. He studies all its possibilities — the lighting conditions, the
angle from which it is best filmed and its balance with the rest of the
setting. He gets people in his scenes to play parts, rather than to pose
and posture. His is no hurried job. Often, it may involve a nerve
wracking wait for a cloud formation to appear, or for the sun to.
move to a more pleasing angle. Not until the picture has become what
his imagination demands will this movie maker start his camera.

5. An observant movie maker will sense that mood is as important
as movement. He will select the mood indicated and will aim all his
imagery toward its creation. If a film [Continued on page 148]

There's more to fine filming than accurate exposures,
says an observing amateur, citing ten creative aids

143

I I INI E

R| LaJ fl^ll [El S

PERFECT BALANCE from the cross-
front lighting to dark ground, is seen
in closeup from Rose Festival, by A.
DeRight, of Williamson, N. Y.

CROSS LIGHTING creates contrast
and a polarized sky in this Dalierque
pattern from Sands of Time, by B.
cseckendorf, ACL, Brooklyn.

STANTON BECKER, of West Roxbury,
Mass., lighted his scene from behind
for this glowing closeup out of Creat-
ing a Stained Glass Window.

DIAGONAL PATTERNS, such as this
by Mrs. J. B. Sanders in Destination
Chungking, are always effective ele-
ments of good composition.

BLUc-GLASS BULBS were the units
used with daylight in co'or scene from
Elmer's Fantasy, by Charles Carbo-
r.aro, FACL, Cambridge, Mass.

ARTHUR GROSS, ACL, of Brooklyn,
moved in to fill the frame in this cir-
cus training scene made at Sarasota,
for Under the Florida Sun.

CREATIVE IS the word for this camera
viewpoint of otherwise ordinary ac-
tion. E. Albinson, ACL, Minneapolis,
made it for Seminole Indians.

TREES DO THE TRICK in enlivening a
normally dull travel subject for And
So To Mexico, produced by Mrs. E.
Kellam, ACL, Los Angeles.

HUMAN INTEREST should be the high-
light of any fair film. Warren Levett,
ACL, of West Hartford, proves point
in shot from his County Fair.

Outstanding scenes enlarged from readers' films, presented periodically by MOVIE MAKERS

144

SHOULD OUTDATED FILM

"NO!" states a reader, citing his experience
GILBERT B. JANSEN, JR., ACL

FOR some years now I have been
reading with interest various com-
ments in your magazine, and other
photographic periodicals, concerning the
exposure of old, outdated film. I thought
perhaps you and fellow ACL members
might be interested in some of the re-
sults and conclusions my experiences
have given me relative to this problem.
Enclosed you will find three strips of
film which, upon examination, you
will perceive to be Kodachrome. These
strips are from a 100 foot roll of out-
door Kodachrome with a "develop be-
fore" date of April, 1943. When the

FIRST 10 FEET: This section shows thin-
nest possible image density and only the
slightest trace of blue in color values.

MIDDLE 50 FEET: Adequate image density
on subject, but blank sky. Blue medium
strong, with slight red in flesh tones.

LAST 10 FEET: Almost normal image den-
sity. Blue tones quite strong. Red in flesh
tones brighter, but off balance.

box came into my possession the seal
was intact and the can tightly taped.

As far as I could determine this
film had been in and out of film stor-
age vaults, desk drawers and closets
ever since its delivery by the manufac-
turer. When I finally obtained the roll
it was five and one half years over the
expiration date on the carton. I exposed
the roll simply to satisfy my curiosity
with respect to age and Kodachrome.

The results you may determine your-
self by referring to the strips. The first
strip (thin density) is from the first
10 feet of the roll; the second strip
(medium density) is from the middle
50 feet of the roll, and the third strip
(heavy density) is from the last 10 feet
of the roll. (See captions under repre-
sentative frames from these strips for
analyses of their density and color
characteristics. — Ed.) Here is the im-
portant point — normal exposure was
given to the entire roll. The scenes
were made in open shade at noon on
a bright summer's day. My Cine-Kodak
Special was used, with the 1 inch f/1.9
and 15mm. f/2.7 lenses being em-
ployed. Exposure was determined with
a Weston Cine-Master which had been
checked for accuracy. Fresh Koda-
chrome exposed under identical con-
ditions with the same equipment gave
perfect results. Therefore, there was
no reasonable chance of error on the
part of the equipment used.

It is quickly apparent that the one to
two stops additional exposure recom-
mended by many persons for outdated
film would have created nothing but
an aggravated exposure situation on
this particular film, already so badly
thinned in parts by age fog as to be
almost transparent. It is reasonable to
assume, then, that age fog is the real
culprit in old film and that no amount
of exposure compensation can rectify
the already inherent damage. It is in-
teresting to note the reasonable clarity
of the image, but the total lack of all
color except blue.

I have exposed many rolls of old
film (both black and white and color,
on both 16mm. and 35mm. stock, as
well as 4 by 5 sheet film ) and never
have I found any reason to use other
than normal exposure regardless of the
age. Normally I have found black and
white film to be much less susceptible
to age fog than color film. I have ex-
posed 16mm. Ansco Triple S Pan over
five years out of date without any ex-
posure but normal considered. I re-
ceived 98 percent perfect frames, with
the remainder suffering from age fog.

Although it is a known fact that
excessive heat is disastrous to an emul-
sion, I earnestly believe that humidity
in storage and not the heat alone is the
real enemy of film emulsion. I have
used film stored under all conditions,
and the processed results have strength-
ened my convictions every time. Film
well out of date but stored under
properly controlled air conditioning
has yielded excellent pictures. On the
other hand, new film subjected to high
humidity in combination with a fairly
high temperature has spoiled rapidly,
in as short a time as five days in one
instance.

Of course, even a high dry heat
can be ruinous. I have seen this proven
in the many films inadvertently left in
automobile glove compartments or un-
der the rear window. However, as a
general rule I have found it to be the
moisture contained in a hot tempera-
ture that creates the greatest damage
in the shortest time, as any tropical
filmer will verify.

It is my conclusion that film emul-
sion loses no appreciable sensitivity to
light from overage. But, as age creeps
upon it, the emulsion gradually loses
its ability to record proper contrast
and density, until the silver becomes
so clouded by fog that it is no longer
able to retain an image. Thus, up until
the fog begins to form, the emulsion is
as good as ever, regardless of the date
placed on it. I believe proper storage
will preclude the formation of age fog
for an unusually long time. Naturally,
one cannot tell the condition of an
emulsion by looking at it prior to ex-
posure. But if not already fogged, I
am sure it will be as good as ever.
And if it is fogged, it is too late to do
anything except throw it away. No
amount of additional exposure, in my
judgment, will do any good.

For consistent results I say use fresh
stock and watch the humidity of the
storage area. Don't keep the film too
cool, as there is a serious danger of
moisture forming when removed to a
warmer location. In most well built
North American homes the lower
shelves of bedroom closets probably
provide the best average storage, as
long as no heating pipes are present
in nearby walls.

In closing, I shall leave this thought.
Outdated film purchased at a bargain
is at best a gamble, since there is no
way to ascertain the conditions under
which the film has been kept. I would
not advise its use for those precious,
never-to-be-shot-again scenes.

145

BE GIVEN ADDED EXPOSURE?

I AM glad to receive Mr. Moore's re-
cent letter and to have the chance of
commenting on the discussion of Gilbert
B. Jansen, jr.. ACL. on the characteris-
tics of outdated film.

The use of outdated motion picture
film is probably of less importance to-
day than it was four or five years ago,
since by now nearly all of the Army
surplus film — the chief source of such
materials — has been used up. There
are, however, occasions when someone
will run across a roll or two of film
that was mislaid. Such persons write
to us to find out if such films can still
be used. We, of course, advise that the
use of such film is a gamble and that
they should not use it for pictures of
important subjects which cannot be
rephotographed in the event of unsatis-
factory results.

As for the details, the whole subject
of film storage before exposure is quite
a lengthy one and one on which I
would not undertake to give general
advice in the short space provided by
a discussion of this type. I might say,
however, that I have seen pictures made
on Kodachrome film that had passed
its expiration date by five years and
which appeared for all practical pur-
poses as though it was fresh film. On
the other hand, I have seen pictures
made on fresh film that had been im-
properly stored wherein the film had
apparently been ruined in less than a
month's time.

"Keeping-fog a factor"

To comment specifically on some of the
paragraphs in Mr. Jansen's letter . . .

In regard to paragraph 4, there is
no evidence to indicate what Mr. Jan-
sen considers to be a "normal" expo-
sure. There are some movie makers who
expose everything ^ to 1 stop more
than I would consider the correct ex-
posure and they seem to be quite sat-
isfied with results that are a little on
the light side. On the other hand, there
are other movie makers who have a
tendency to expose % to 1 stop less
than what I consider normal exposure.
If Mr. Jansen happens to be one that
shoots on the full side, then it is quite
possible that he could make pictures on
film that was really a stop slower than
fresh film and still get results that
would be acceptable for density. At
the same time he would feel that he
had given the same exposure that he
normally would.

(Upon inquiry on this point, Mr.
Jansen reports that the "normal" expo-
sure he used was f/4.5 at 16 frames
per second. According to the Movie
Kodaguide, correct exposure for out-
door Kodachrome in open shade is
f/2.8, so that, if anything, Mr. Jansen
was underexposing the outdated film in
question. — Ed. )

In regard to the 5th paragraph, Mr.
Jansen is quite correct. Age, or keep-
ing, fog is an important factor, and

"Make test exposures"

THANK you very much for giving us
the opportunity to review Mr. Jan-
sen's letter on the subject of exposing
outdated film. His comments on the
subject fall right in line with our ob-
servations of old emulsions.

It has been our experience that out
of date Ansco Color film usually has
a tendency towards poor color balance
but not necessarily of any one specific
type, although bluish results seem to
predominate. As you know, the expira-
tion date stamped on each carton of
Ansco Color film represents the nor-
mal life expectancy of the material
when it is subjected to average stor-
age conditions. When carefully stored,
under conditions which are nearly
ideal, there is greater probability that
the material will deteriorate less rapid-
ly and that the film will remain in
good condition for some time beyond
the expiration date.

Deterioration of film, of course, is
greatly accelerated by high tempera-
tures and high humidities. Other con-
ditions, such as mechanical pressure

EDWARD F. BREWER, Ansco

and exposures to certain vapors and
gases, can appreciably shorten the use-
ful life of the film.

For optimum storage, we recommend
that films be stored in a cool, dry place
(i.e., a temperature of approximately
60° F. and relative humidity in the
neighborhood of 30 to 40 percent).
Normal variations from these ideal
conditions which occur with changes
in the weather are not of sufficient
importance in most cases to cause any
noticeable effects.

We fully agree with Mr. Jansen that
the use of outdated film is, at best, a
gamble and for consistently good re-
sults we recommend that fresh film be
used. In any event, we would always
suggest that photographers using out-
dated film make test exposures prior
to doing any important work so they
will know beforehand whether the re-
sults from the material in question will
be acceptable.

Thank you again for your interest in
writing to us regarding Mr. Jansen's
interesting letter.

HARRIS B. TUTTLE, ACL

Eastman Kodak Company

keeping fog is quite evident in the
samples enclosed with your letter.
Keeping fog usually fogs the silver in
the top or blue-sensitive layer of Koda-
chrome film. I believe this is what has
occurred in this case because the pic-
tures are excessively blue and lacking
in yellow pigment.

There is, of course, some effect of
keeping fog in all three layers. It is
important to note that whatever causes
the fogging usually affects the larger
and more sensitive grains first, leaving
only the medium and smaller sized
grains unaffected to form whatever im-
age is created when the film is exposed.
It is precisely because the larger grains
are already exposed by fog that it is
necessary to give more exposure to the
film. Because, after these larger grains
have been destroyed by fog, the film
behaves like a smaller-grained or slower
type of emulsion.

In regard to his 6th paragraph, I
believe it is generally recognized that
all types of color film appear to be
more susceptible to changes after the
expiration date than black and white
materials. It is probably also safe to
say that color films are in general more
susceptible to high temperature and
high relative humidity than black and
white materials. This is due partly to
the complex nature of the three layer
type of emulsion and also to the fact
that keeping fog can affect one layer
to a greater degree than another. There-
fore, it invariably throws the final pic-
tures out of color balance.

I don't agree with Mr. Jansen that if
the film is in poor condition due to im-
proper storage, it is always necessary
to throw it away as useless. It is pos-
sible that film which is past its expira-
tion date could be used for two or three
purposes wherein accurate color ren-
dering is not of too much importance.

One way would be to use it in pho-
tographing sunsets. If the film rendered
the sunset a little bluer or redder than
normal, it might enhance the beauty
of the sunset so that it would be more
glamorous than nature intended.

Second, it might be possible to use
the film in photographing street scenes
at night merely for the recording of
neon and other advertising lighting
effects.

Third, it might be used for making
titles wherein the degree of off-color
produced in the final image would be
entirely acceptable as a colored title.

I am glad that you brought this to
our attention and gave me an oppor-
tunity to make the above comments.

146

News of the Industry

Up to the minute reports on new

products and services in the movie field

■ :,

Easter special Released by Castle
Films as a special
for Easter, The Holy Year of 1950
shows scenes of the coronation of the
Pope, together with his inauguration of
the present Holy Year on the occasion
of the opening of the Holy Door on
Christmas Eve. Events taking place in
Rome and scenes of spectacular proces-
sions and services are included, as well
as shots of outstanding Americans
making the pilgrimage to the Vatican.
The film is available from dealers in
the five standard editions, including
sound.

Caddy Shur-Grip Built like a

pistol grip, the
Cadwell Corporation's Caddy Shur-Grip
provides a simple hand held camera
support that weighs only two ounces
and retails for $.98. It is manufactured
by the Cadwell Corporation. 400 North
Camden Drive. Beverly Hills. Calif.

Lens turret ^ar Products Corpora-
tion offers a four lens
turret designed for the Cine-Kodak
Special that accommodates four Cine-
Ektar lenses in C mount adapters or
equivalent Cooke lenses, from a 15mm.
wide angle to the 152mm. telephoto
lens, without optical or mechanical in-
terference. Its integral, positive-type
viewfinder system includes four Bell &
Howell or equivalent finder objectives
mounted in the turret adjacent to their

i/lv

r of "Your M W

r," turns L, — ""fl

KODAK'S Model 25 projector is designed for
auditorium and large group purposes. It is
primarily meant for permanent installation.

KATHI NORRIS, star
Television Shoppe
the tables and her Bolex
camera on George Marano
of the Dumont camera staff.

corresponding taking lenses. A special
base permits magazine changing and
spring winding without removing cam-
era from tripod, while the tube housing
the viewfinder optical elements is re-
movable to permit magazine loading or
changing.

Further information and prices may
be had from Par Products Corporation,
926 North Citrus Avenue. Hollywood
38. Calif.

Peerless Stations Equipment has
been installed
by Peerless Film Processing Corpora-
tion at seven new locations. The installa-
tions are at W. E. Hockey & Associates.
San Francisco. Calif.; Vitacolor Labor-
atories. Burbank, Calif.; Chicago Film
Laboratory, Chicago. 111. ; Capital Film
Service, East Lansing, Mich.; Motion
Picture Productions. Cleveland, Ohio;
The Distributors' Group, Atlanta. Ga..
and Southwest Soundfilms. Dallas,
Texas. Peerless Film Processing Cor-
poration is at 165 We;t 46th Street.
New York City.

Kodak Model 25 Designed from
the base up for
auditorium and large group screenings,
Eastman Kodak Company's new heavy
duty Model 25 16mm. sound projector
is said to deliver considerably more
screen illumination than has been pos-
sible in the past. The projector, though
reasonably portable, is intended for
permanent installation.

The mechanism of the new projector
is divided into two mechanically inde-
pendent but interlocked assemblies —
the intermittent assembly and the shut-
ter-sprocket system. These are driven
by separate synchronous motors. Indi-
vidual motors also drive the blower,
takeup and rewind.

Any of the ten major components of
the projector may be easily removed
for service. An intermittent sprocket is
used instead of the claw-type, pull-down
mechanism.

For illumination, the Model 25 is
equipped with a 1000 watt, 10 hour
base-up tungsten lamp. It has also been
designed for use with arc illumination
under more demanding projection con-

ditions. The arc lamphouse will achieve
optimal screen brightness and will fill
a screen with dimensions twice those
allowable when the tungsten light
source is used. In the tungsten model,
a dual lamphouse incorporated in the
projector prevents show interruption if
a lamp burns out.

A new type of Lumenized Kodak
projection lens — offered in focal lengths
of 2, 21/4, 2% or 3 inches, all with an
//1.5 aperture — is a feature of the
Model 25. All lenses contain Kodak's
new rare-element glass. Amplifier sys-
tem and speaker are manufactured by
Altec-Lansing Corporation, which has
reduced flutter to 0.2 percent rms. and
intermodulation distortion to 5 percent.
A 603B Altec speaker is standard
equipment for small audiences, with an
800 Altec for larger groups.

Besides the usual tone and volume
controls, the Model 25 has a switch
for phonograph or microphone input.
Two knobs on the outside of the projec-
tion head provide for easy focusing and
framing.

Film list A list of 16mm. films on
music, art, dance and an-
thropology, available for rental, has
been issued by D. D. Livingston, 220
Clinton Street. New York 2, N. Y. It is
sent free on request.

Hoffberg moves Hoffberg Pro-
ductions. Inc.,
has moved to 362 West 44th Street.
New York 18, N. Y.

Autry films Two new Gene Autry
films have been re-
leased by Hollywood Film Enterprises.
Inc., 6060 Sunset Boulevard, Hollywood
28, Calif. Loaded Guns co-stars Gene
Autry and Barbara Britton. Naturally,
Mr. Autry's wonder horse. Champion,
also appears, as do Chill Wills, Jack
Holt, Russell Arms and Robert Shayne.
A poker game murder starts Gene off
on a manhunt, with plenty of gun
fights, fisticuffs and pursuits.

The second film, Indian Uprising,
features Mr. Autry and Champion once
more, this time surrounded by Jean
Heather, Ralph Morgan, Carol Thurs-

MOVIE MAKERS

147

ton and Mark Daniels. In Indian Up-
rising, the villains are crooked land
sharks who stir up trouble between
ranchers and Indians. The films are
available in six different versions, in-
cluding sound on film.

Barleben named Karl A. Barle-

ben has been
appointed sales promotion manager of
the Gevaert Company of America. Inc.,
423 West 55th Street. New York 19.
N. Y. Widely known as writer, lecturer
and teacher. Mr. Barleben has been as-
sociated with E. Leitz, Inc., Argus. Inc.,
Dejur-Amsco Corporation and DeMor-
nay-Budd. Inc.. in sales promotion and
advertising capacities. All queries per-
taining to Gevaert products or informa-
tional materials should be directed to
his attention.

Sterling list Approximately 100
films, with descrip-
tions and photographs, fill the twenty
pages of the 1950-51 catalog just is-
sued by Sterling Films. Inc.. 316 West
57th Street, New York 19. N. Y. The
catalog may be had free of charge.

SMPTE meeting

The sixty sixth
semi-annual con-
vention of the Society of Motion Pic-
ture and Television Engineers, formerly
the Society of Motion Picture Engi-
neers, will be held April 24 to 28 at
the Drake Hotel in Chicago.

Wonder-Lite ^ new silver screen
surface for the pro-
jection of polarized stereo slides re-
flects and intensifies light without de-
polarizing it. thereby increasing the
brilliance of the picture. Known as
Wonder-Lite, the silver screen surface
is supplied in the De Luxe Challenger
mounting, with picture surface mea-
suring 40 by 40 or 50 by 50 inches. Full
information on the new surface may be
had from the Da-Lite Screen Company.
2718 North Pulaski Road. Chicago. 39.
111.

Kodak's 1 949 Total Eastman
Kodak Company
sales for 1949 were about 4% percent
(net earnings 3 percent) under figures
for 1948. the company's peak year.
Common stock dividends declared in
1949 were $1.70 a share as opposed to
$1.60 in 1948. About 46.000 Kodak em-
ployees in the United States shared a
wage dividend of approximately $15,-
200.000.

Almanac Films

Established for
the distribution
of educational and informational pic-
tures, Almanac Films has entered the
16mm. field with a series of 52 one reel
science and nature shorts, entitled
Kieran's Kaleidoscope. John Kieran.
who knows almost evervthing. is com-

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148

APRIL 1950

mentator for the films, which are pro-
duced by Paul F. Moss. The films will
be released at the rate of twenty a
year, over a three year period. The
distributor. Almanac Films, Inc., is lo-
cated at 516 Fifth Avenue, New York
18, N. Y.

B.I.S. catalog

A catalog listing 100
current titles and
containing a brief synopsis of each
title is available from British Informa-
tion Services at any of their offices or
library outlets. British Information Ser-
vices headquarters are located at 30
Rockefeller Plaza, New York 20, N. Y.

Imagination

[Continued from page 142]

pictures religious rites, it must do so
with reverence; if it simply records
everyday activity, it must do so with
honesty. There should be no lapses from
good taste, no attempts at slapstick-
comedy unless called for by the subject
matter itself. Further, the filmer will
attempt to maintain the mood by every
means at his disposal. The proper word-
ing of titles or narration, as well as the
musical scoring, is often as important as
the picture.

6. After the sequences have all been
filmed, ample opportunity still remains
to exercise one's creative abilities. For
miracles can be effected on the editing
board. Many a mediocre film of two
reels or more has become a prize winner
through cutting it to as much as half its
length. In retaining only one's best shots,
and in weaving these into sequences
which have action, human interest, good
camera angles and plenty of closeups,
the movie maker is certain to produce
a picture of merit.

7. As already suggested, provocatively
composed titles are another aspect of
originality. For the effective caption
must be more than a mere label. How
often have you been bored by such titles
as Our Wedding or Vacation Trip to
Cuba? How much better would be With
This Ring and Rum, Rhumba and Ro-
majicel Let your captions suggest and
intrigue, rather than state and simply
inform. Remember always that effective
titles may be as important as attractive
pictures.

8. All that has been said of titling
applies equally well to writing narration.
In the first place, use it sparingly.
Remember that your picture comes first
and that commentary is only an adjunct.
Don't drown your scenes in a rush of
rhetoric or deaden your mood with a
flood of figures. Suggest rather than
state, point up rather than point out.
And, if you have nothing important to
say, keep still.

9. Music must be used imaginatively
if your film is to be truly enhanced by
this great aid. Be selective. Eschew pop-

ular airs with already established asso-
ciations. Avoid too literal pairings of
piece and picture (Springtime Suite
with spring scenes, etc.). It will have
been done before. Take your time, or
take the advice of others — the ACL in-
cluded. Listen regularly to good music
on the radio. You will acquire in time
a surprising sensitivity for just the type
of music best suited to your special
purpose.

10. Finally, when you feel that you
have done everything in your power to
perfect your picture, show it to your
movie making friends. They may have
some ideas to offer. For their viewpoints
will be fresh and unfamiliar with the
film. And especially, if they ask any
questions about a certain sequence, if
some passage is to them unclear, it is
well to heed this warning. You know
what you meant to say — but apparently
the picture doesn't say it. You have been
living too close to it. Let a few weeks
elapse. Then run it through the projec-
tor again. Possibly you'll see it in a dif-
ferent light. A new inspiration may
come to you. At any rate give your
imagination one more chance.

Typed titles

[Continued from page 135]

new, heavy-inked carbon paper; a sup-
ply of thin onion-skin paper; a still-pic-
ture, contact printing frame; a supply
of matte surfaced printing paper, and
the facilities for developing same after
exposure. If you don't have any of these
photographic items, don't despair. Your
local photo finisher can do this part of
the job for you.

Here's what you do. First clean the
letters of your typewriter with a stiff
brush and a standard cleaning fluid,
such as carbon tetrachloride. Then set
the machine on "stencil" position so
that the ribbon is not raised into posi-
tion as the keys are hit. This latter
avoids creating fabric outlines to the
letters which you are going to write.
Now place one sheet of carbon paper
on the desk with the carbon (or print-
ing) side up. Lay a sheet of onion-skin
paper on this and cover it with an-
other sheet of carbon paper, this time
with the carbon side down. Feed this
sandwich of three sheets into the ma-
chine, and type your title against the
exposed face of the top carbon paper.

If you now examine the front and
back of the onion-skin paper (see Figs.
1 and 2), you will note that the title
letters appear on both sides, in exact
registry. In this way you will achieve
the greatest possible density and con-
trast in the letter outlines.

Now, taking care not to smudge the
carbon-printed letters, trim the paper
around them to a size which just fits
in the negative position of your contact

printing frame. For that is exactly what
the onion-skin paper and its dark let-
ters will serve as — a negative in the
printing process to follow. So slip over
it in the printing frame a sheet of con-
tact paper (see Fig. 3) and lock up
your frame for the exposure. The print-
ing paper used should be one with a
matte surface (to avoid reflections dur-
ing the title shooting), and it should
be of high contrast (such as Grade 3 or
4) for maximum clarity of the black
and white values. As for exposure time
in making the contact print, this will
best be determined as usual by experi-
ment. And, let me repeat, if you don't
have this simplest of still printing fa-
cilities, all this part of the job can be
done at the corner photo shop.

Either way, at the end of the print-
ing and developing process, what do
you have? You have your title card in
sparkling white letters on a black back-
ground. This version of the typed title
can now be used in several different
ways. If you are content for the mo-
ment with a monochrome title, you
shoot the card as it stands with a me-
dium speed reversal film. If you want
to shoot the title directly on color film,
a pleasantly colored background can be
given the white letters by using blue-
print paper in the printing frame in
place of the contact printing paper pre-
viously suggested. Finally, if you desire
the ultimate in color titles, your white
letters on a matte black background are
ideal for double exposure work, in
which the title is superimposed either
on a card patterned in color or a live
action scene.

For any one of these uses, the first
step is to insert your white-on-black
title card in the titling easel and shoot
it (see Fig. 4). As to exposure, if you
have a meter the best way of using it
for this purpose is by the gray-card
method (see Exposure Meters and How
to Use Them, March— Ed.). Here the
neutral gray card is substituted mo-
mentarily for the title card, a reading
taken on it under the lighting to be
used in shooting, and then the dia-
phragm is set at one stop less than the
indicated aperture. A meter reading di-
rectly on the large black area of the
title card itself will be too low, as will
be seen presently.

Without a meter, it will be neces-
sary to shoot some test strips at expo-
sures varying by one stop each. As a
starting guide, I can give you the fol-
lowing figures from my own work in
this field. Here was the setup: two No.
2 photofloods in metal reflectors were
placed one on each side of the title
card, 18 inches from the card's center
and shining at a 45 degree angle to
the plane of the card. Using a medium
speed black and white reversal film
(ASA 32), my meter reading on the
title card called for an exposure of //8.
My test strips, however, showed later
that an exposure of //16 (two full

MOVIE MAKERS

stops less) gave better results. The
meter reading, of course, had been
dragged down by the large black area
of the title.

Translated into terms of Type A
Kodachrome (ASA 16), the setup de-
scribed above should give an original
meter reading on the title card of
//5.6, with the best results coming
from an exposure of //ll.

These are, however, far smaller aper-
tures than need be used in this kind
of shooting. This will be true espe-
cially if you plan on fading your titles
in and out by opening and closing the
diaphragm (see Dissolves Without a
Backivind, March — Ed.). For, in mak-
ing fades in this way, it is essential
that the working aperture be three to
four steps wider (//2.8 to //3.5) than
the smallest stop on your lens. One
answer, of course, will be to position
your two No. 2 lamps a good deal
farther back from the title. Another
would be to use the No. 1 bulbs in
your reflectors.

But this is only a detail, and you
probably have already decided on your
lamp placements for title shooting. All
I wanted to get across was this really
simple system of creating white let-
tered titles on black cards from type-
writer copy.

Tips on Titling

[Continued from page 131]

the columns. The basic arrangement of
these two units is to place one on each
side of the title area at a distance of
from 2 to 3 feet and angled at about
45 degrees to the title surface. When
block letters are being used and their
cast shadows are desired, one of the
lamps is simply placed at a greater dis-
tance from the title than the other.

EASY TITLE SETUPS

Which brings us to the actual prepa-
ration of the titles — and still another
advantage of the vertical titler. This is
the complete accessibility of the title
area and the ease of setting up title
copy with movable letters. As pictured
in Fig. 3, my unit is resting on the
floor. In actual use. however, it is far
handier to work with the titler stand-
ing on a table or workbench. In that
position, the titling area is directly in
front of one's hands and at just the
right height for lining up the let-
ters. Further, with the vertical setup
there obviously is no need for stick-on
or pin-back letters. Your letters here
simply rest on the title surface and can
be moved about quickly and surely.

BACKGROUND DECORATION

For backgrounds I keep on hand an
assortment of different colored poster
papers. These are available in any art
supply store and can be decorated

149

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ter, Wollensak //2.5, case, like new, $37.50; 8mm.
Revere 88, Wollensak //1.9. telephoto attachment,
wide angle attachment, 862.50: Bolex H-8, Cooke
f/2.5 fixed focus with lap dissolve, l1//' Berthiot
t/3.5 3" Berthiot //3.5 case, $245.00; factory new 200 ft.
magazines for Cine Special, black, $275.00; 16mm. B.
& H. 70D, 20mm. f/2.9 coated, 1" Plasmat //1.5 wide
angle, 2" Cooke //3.S, case, $235.00; 16mm. B. & H.
70DA, 17mm. Wollensak //2.7. 1" Cooke //1.5, 3"
Wollensak //4, case, $275.00. We buy 'em, sell
'em, and trade 'em. Complete stocks of new Cine
Equipment, all makes. BASS CAMERA COMPANY,
Dept. CC, 179 W. Madison St., Chicago 2, 111.

■ PROJECTORS converted to GOVERNOR CON-
TROLLED 16-24 SPEED. Synchronous motors in-
stalled on projectors, cameras and recorders. M. W.
PALMER, 468 Riverside Dr., New York 27.

■ 2 CINE-KODAK Specials: f/1.9 lenses; perfect
condition; prewar $375. 00< 3 year old, $600.00.
DAVIS, 5329 Holmes, Kansas City. Mo.

H \URICON Cine-Voice single system camera,
$695.00. Bolex H-16, like new, with 1" f/l.S lens.
case, $249.00. Kodascope FS-10N 16mm. sound
projector, complete in excellent condition, $225.00.
Colortran converters to boost ordinary 150 watt
bulbs to more than 750 watts each on ordinary
house current, $27.50. THE CAMERA MART, Inc.,
70 West 45th Street, New York.

■ BOLEX H 16— "Anytime After Six" 1949 ACL
Honorable Mention made with this camera. List
S289. Will sell for $189. The purchaser of this
camera will not be gambling. It has been proven
good. Reason for selling, owner, acquired Eastman
Special. E. H. SPARKS, 20 Goodwin St., Bristol,
Conn.

B MAKE TITLES for MOVIES and SLIDES EASILY!
Over 150 reusable, one inch pliable letters, numbers
and symbols. Adheres on contact to non-porous sur-
faces, glass, etc. No special apparatus necessary.
Complete, $3.45. CLINGTITE PRODUCTS COM-
PANY, Dept. L, 7 S. Dearborn St.,' Chicago 3, 111.

■ WORLD'S LARGEST LENS SELECTION— For
those gorgeous Spring and Summer movies. COATED
FOR 8MM. CAMERAS: 9mm. //2.5 Wollensak wide
angle universal focus, $43.75; V" //1.9 Berthiot
Cinor (focusing mount), $29.50;" 1%" f/3.5 tele-
photo anastigmat (3 time magnification) in focus-
ing mount, $36.50. IN FOCUSING MOUNTS COATED
FOR 16MM. CAMERAS: 17mm. //2.7 Carl Meyer
wide angle, $49.50; 1" f/1.9 Wollensak Raptar,
$58.09; 2" //2 Schneider Xenon. $99.50: 3" //2.8
Carl Zeiss Tessar. $109.50; 6" //5.5 Schneider Tele-
Xenar, $124.50. These are only a few of our fine
lens values. We have the lens you want. 15 day free
trial. Satisfaction guaranteed. Send this ad for fr^e
catalog and 1-ns list. BURKE & JAMES, Inc.. 321
So. Wabash Ave., Chicago, 111. Att : M. A. Milford.

FILMS FOR EXCHANGE

■ EXCHANGE or buy used movie films. Mention
your MM. Write GALLARD'S EXCHANGE CLUB,
29 Coe Ave., Hillside 5, N. J.

FILMS FOR RENTAL OR SALE

■ USED and New Castle films. 8-16. silent and
sound. Send for lists. ALVES PHOTO SERVICE,
Inc., 14 Storrs Ave., Braintree 84, Mass.

■ UNUSUAL industrial and educational film sources,
many hard to find subjects. All films rented without
charge. New list, $1.00. INTERNATIONAL CINE
SOCIETY, 126 Lexington Ave., Dept. R, New York
16, N. Y.

■ CLEARANCE: Kodachrome Travel Shorts, 100'
16mm. silen\ $11.00 each. Write for list. WURTELE
FILM PRODUCTIONS, Box 504, Orlando, Florida.

H CASTLE Films for sale; 8mm. -16mm. silent and
sound; complete stock, orders shipped dav received
by STANLEY-WINTHROP'S, Inc., 90 Washington
St., Quincy 69, Mass.

■ NATURAL COLOR SLIDES, Scenics, National
Parks, Cities, Animals, Flowers, etc. Sets of eight,
$1.95; sample & list 25£. SLIDES, Box 206, La
Habra. Calif.

■ SOUND, SILENT MOVIES; lists 8? ; projection
Kodachrome sample (silent) "Washington, DC"
$1.00; Natural Color Slides — views, paintings, etc.,
lis's 3#, sample slide 35<t. GALLOWAY FILMS,
3008-5th St., SE, Washington 20, D.C.

■ 1950 ROSE PARADE MOVIES offered again by
popular demand. Thrilling spectacle in Kodachrome.
Beautiful girls! Colorful floats! 200' 16mm., $29.95.
100' 8mm., $14.93. AVALON DAGGETT, 441 North
Orange Drive, Los Angeles 36, Calif.

■ BIGGEST 16mm. sound film bargain. 12 100'
used musical films, $9.95; other assortments, $13.95,
$15.95. Postage extra. Big list free. Other bargains.
BLACKHAWK FILMS, Dept. MMA, Davenport,
Iowa.

■ CLEARANCE SALE OF 16MM. FEATURES.
Want a- real buy in 16mm. SOUND FILMS? Take
advantage of the I.C.S. 1950 CLEARANCE SALE
of 16mm. sound FEATURES — comedies, cartoons,
novelties, musicales — new, used. Specify. Send for
our giant list "A" today, stating machine you own
(make and model). INSTITUTIONAL CINEMA SER-
VICE, Inc.. 1560-M-2 Broadway, New York 10, N. Y.

MISCELLANEOUS

■ KODACHROME DUPLICATES; 8mm. , or 16mm.,
11^ per foot. Immediate s°rvice on mail orders,
HOLLYWOOD 16MM. INDUSTRIES, Inc., 6060 Hol-
lywood Blvd., Hollywood 28, Calif.

■ SOUND RECORDING at a reasonable cost. High
fidelity 16 or 35. Quality guaranteed. Complete stu-
dio and laboratory services. Color printing and
lacquer coa'ing. ESCAR MOTION PICTURE SERV-
ICE. Inc., 7315 Carnegie Ave., Cleveland 3, Ohio.
Phone: Endicott 2707.

■ TWO 4x5' BL. & W. ENLARGEMENTS and
negative from your moviefilm. or one colorprint
from colorfilm. Send frames and one dollar. CURIO-
PHOTO, 1187 Jerome Ave., New York 52.

B RIFLES, shotguns, pistols — Firearms of all types,
all makes taken on trade towards ALL photographic
equipment. Highest trade-in allowance at NATIONAL
CAMERA EXCHANGE, 86 So. Sixth St., Minneapolis
2. Minnesota. Au'horiz^d agents for Eastman, Argus,
Revere, Bell & Howell. Keystone, Graflex — in fact
every great name in photography. Trade your fire-
arms on photographic equipment now.

■ NO NEGATIVE? ? ? Send picture or trans-
parency and $1.00 for new negative and 2 5x7 en-
largements. CURIO-PHOTO, 1187 Jerome Ave.. New
York 52.

The publishers of

MOVIE MAKERS

invite you to join

THE AMATEUR CINEMA LEAGUE

The fact that you read MOVIE MAKERS
means that you have the sort of in-
terest in movie making that the thou-
sands of current ACL members have.
Since 1926, the Amateur Cinema League
has been helping movie makers like
you to get the sort of filming results
that they want. Let the League start
helping you today — with its TECHNI-
CAL. CONTINUITY, FILM PLANNING
and FILM REVIEW services.

To start you off as a member, the ACL
will give you a copy of Thi ACL Movie
Book — the 311 Dage book that is widely
known as the finest guidebook to 8mm.
and 16mm. filming.

And — of course — as a member, you will
receive MOVIE MAKERS every month.
For full details on how you can be-
come a member of the ACL, write to-
day to

Amateur Cinema League, Inc.

420 Lexington Ave., New York 17, N. Y.

APRIL 1950

with hand-done sketches in water col-
or. If you're not handy with paints,
don't despair of attractive spot decora-
tions. You'll find a wide variety of at-
tractive decalcomanias at your com-
mand. Besides these designs, both the
advertisements and illustrations of
countless magazines provide a rich mine
of decorative material. In general, you
will find it well to avoid too garish
contrasts in your color schemes; soft
background colors are best, heightened
by a small spot of its complementary
color. Your letters, of course, are best
white at all times.

DOUBLE EXPOSED TITLES

For any sort of double exposed title
work, white letters are a must. This
technique is not difficult, requiring only
some method of returning the film to
be double exposed to its starting posi-
tion. (See Dissolves Without a Back-
wind, March — Ed. ) There doesn't seem
To be much difference whether you
shoot the background scene or the
title wordings first, but my habit is to
shoot the scene and then double in the
title. Scenes selected for such use
should be medium to dark in overall
tone and should not be too busy in
pattern. With such scenes no underex-
posure is needed to effect the neces-
sary contrast with the white letters.

Having exposed adequate footage of
your background to carry the intended
title wordings, you then back-track the
film and install the camera in the titling
setup. The title itself should be laid
out against some matte surfaced black
material — a dull paper, velvet or the
like. Further, to insure that no trace of
this background shall register through
the already filmed scene, I generally
stop down on double exposed title let-
ters at least a half stop more than or-
dinary.

ANIMATED TITLES

Animated titles, in which the letters
one by one appear or disappear, are
also easy to do if you can effect some
form of single frame filming. My meth-
od is to lay out and line up the entire
title first, to be sure of its balance.
Then, with a hard pencil, light marks
are made on the background to indi-
cate the position of each letter. All let-
ters are then removed.

If you are building up your title
(adding letters one by one), begin by
running off ten to twelve frames on the
empty background. Now place the first
letter on the spot marked for it and
single frame as many exposures as are
needed to create the speed of animation
desired. Three frames exposed on each
added letter, for example, will give you
a pleasingly paced animation; twice or
three times that tends to slow things
down. Incidentally, keep in mind that
in single frame shooting your expo-
sure should be one full stop less than

MOVIE MAKERS

151

normal to compensate for the slowed
shutter action.

From the first letter onward the pro-
cedure is the same until the entire title
has been built up to completion. The
effect on the screen, of course, is of the
title growing before one's eyes. The
same method reversed will tear down
the title until only the background is
left.

No one of these titling methods. I
believe, is either difficult or beyond the
reach of the average amateur filmer.
And yet. the contributions in appeal
and polish which they make to your
movies are beyond measure. If you
haven't tried vertical titling yet, why
not give it a whirl now?

Birthdays with bounce

[Continued from page 134]

Obviously you won't want a script,
though you may wish for three cameras
when the fun begins. The pint-sized
crew may be momentarily distracted by
your photographic equipment, but the
chances are that they will soon lose
themselves in the sports provided on the
sidelines. If you have a wire or tape
recorder, you can doubtless pick up
some salty and outspoken comments by
concealing the microphone under one of
the booths.

Naturally, you will want to feature
closeups of the chief celebrant in the
final editing. But you will find it more
practical to take your conventional
frames of the child with his cake before
the arrival of the guests and the reac-
tion shots and footage of the gifts some-
time after the party.

The end result of your efforts should
be an entertaining record of childhood
clowning, of youngblood at its imitative
best. With a group of spry and spirited
youngsters, you have the natural re-
sources for The Greatest Show on Earth.

Color and the weath

[Continued from page 133]

cold fronts advance is invaluable to the
serious outdoor filmer who will be in
the field for an extended time.

He should know that a warm front
advances with the following weather
changes: the clear cold air develops
mare's tails clouds; these, in succes-
sion, turn into a high milky overcast,
a high layer of cloud, a lower layer
of cloud, rain, a very low cloud layer,
fog. and then clear into humid, warm
weather with small, scattered cumulus
clouds.

As a cold front advances, however,
the hot, humid cumulus clouds grow
larger and larger with a southerly wind
until thunderstorms bring about a wind
shift. With a northerly wind, the
weather becomes clear and cool with
scattered clouds.

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WRITE FOR CATALOG
NO. 17

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PHOTO BOOK CATALOG

Newestcatalog lists, illustrates books
on all photo subjects by all pub-
ishers. Budget payment plan avail-
able. Send name on penny post
card for your FREE COPY today.

American Photography

FREE! 607 Guardian Bldg., St. Paul 1, Minn.

P.W

THE RALPH R. ENO CORP.

626 W. I65 ST. • NEW YORK
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BOX44-Z5 'WASHINGTON 17, DC

w**

FADES and SPECIAL EFFECTS

Have YOU tried the MOVIE-TRIX way of putting
fades and effects into YOUR movies? Professional
method gives you Circle Wipes, Whirlpools, Sawtooth
and Clock Sweeps, Slow and Fast Fades, all used
AFTER EDITING! No chemicals! Cost of full duz.
ass't is $1.25 for 8mm. $1.50 for 16mm.
Send for free circular

MOVIECRAFT COMPANY

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New York 60. N. Y.

" 3 UNIQUE FILMS

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ESO-S, INC., 47m. & HOLLY, KANSAS CITY, 2, MO

152

APRIL 1950

BOOK REVIEWS

■ Handbook of Basic Motion Picture
Techniques, by Emil E. Brodbeck; 311
and xiii p., illus., cloth, $5.95; Whit-
tlesey House, 330 West 42nd Street,
New York, N. Y.

Emil Brodbeck sees the craft of movie
making as a series of ten basic stum-
bling blocks strewn here and there in
the path of the ardent amateur. While
this may seem a pessimistic approach
to cinematic problems, it is undoubt-
edly a practical one. Mr. Brodbeck has
selected his stumbling blocks with wis-
dom, and he has approached each of
them in an organized and easily under-
standable fashion.

The ten obstacles to successful films,
as the Handbook sees them, are in the
fields of panning, using the tripod, shot
breakdown, screen direction, matching
action, newsreel technique, build-up,
composition, indoor lighting and ap-
plied technique. Each chapter covers
one stumbling block in the form of a
lesson — with text, practice assignments
and rules to remember.

The main text of the Handbook is
preceded by a Treasure Chest of Me-
chanics and Techniques, an interesting
collection of fundamental facts and fig-
ures on movie making. The illustrations,
while helpful, have suffered somewhat
in reproduction.

■ Educational Film Guide, by Dorothy
E. Cook and Katharine M. Holden; 690
p., cloth, by subscription, $4.00 yearly;
H. W. Wilson Company, 950 University
Avenue, New York 52, N. Y.

The ninth annual edition of this di-
rectory of 16mm. film sources presents
an impressive compilation of over 7000
individual titles. Divided into two main
parts, the book first presents an al-
phabetical listing of films, while the
second part is a classified list under
subject headings. In the back of the
book are a directory of main sources
and a listing of local distributors,
broken down by state and city, together
with directions on how to obtain films.

The Guide is designed to meet the
film needs of libraries, clubs, business
and industrial firms, churches and other
audio-visual users. Published annually
in September, the Guide is kept up to
date with monthly supplements and
cumulative quarterly issues in Decem-
ber, March and June of the following
twelve month period.

• 1950 PSA Journal Annual, edited by
Fred Quellmalz. jr.. APSA; 152 p.,
illus., flexible stock, $1.00; PSA Jour-
nal, Kutztown, Pa.

Huge and definitely handsome is this
1950 Annual of still photography is-
sued by the Photographic Society of

Recent publications of interest

to the picture-minded

America. Arranged editorially in six
main sections of photographic concern
— Pictorial, Nature, Creative, Techni-
cal, Color and Motion Pictures — the
volume contains articles by such au-
thorities as Harry K. Shigeta, Hon.
FPSA, Nicholas Haz, Hon. FPSA, D.
Ward Pease, APSA, Jack Wright,
FPSA, Dom Chiesa, APSA, Jacob
Deschin, APSA, Fritz Henle and John
G. Mulder, APSA, president of the
Society. Robert H. Unseld, motion pic-
ture editor for The Journal, contributes
the only movie discussion: Big Pictures
of Small Objects.

Besides its countless illustrations in
letterpress halftone, the Annual in-
cludes ten full-page inserts of suave
beauty reproduced in collotype. Harry
H. Lerner, APSA, president of the Tri-
corn Press, explains this little-known
graphic art in an illuminating discus-
sion. The striking pattern of modern
architecture used on the Annual's cover
is by Thomas H. Farkas, ACL, of Sao
Paulo, Brazil.

■ American Annual of Photography,
edited by Frank R. Fraprie and Frank-
lin I. Jordan; 272 p., illus., flexible
stock, $2.00, cloth, $3.00; American
Photographic Publishing Company. 607
Guardian Building, St. Paul 1, Minn.

Now in its sixty fourth edition, this
veteran of the photographic annuals
presents for 1950 sixty five full-page
pictorial illustrations from the work of
outstanding still photographers and
seventeen varied articles, with their
own specific illustrations. Lead article
is a discerning analysis, The Work of
Jose Ortiz-Echagiie, prepared by co-
editor Franklin I. Jordan and illus-
trated with sixteen beautifully modu-
lated examples of the distinguished
Spaniard's speciality, Fresson prints.

The sole discussion concerned direct-
ly with movies is The Motion Picture
Camera in Science and Industry. In it,
Henry M. Lester, one of the authorities
in this field, outlines some of his meth-
ods of high-speed and its opposite,
time-lapse camera work.

■ Film Technique and Film Acting, by
V. I. Pudovkin, translated by Ivor
Montagu, with an introduction by
Lewis Jacobs; 204 and 153 p., in one
volume, cloth, $3.75; Lear Publishers,
105 East 15th Street, New York 3, N. Y.

Published abroad in 1929 and 1933,
Film Technique and Film Acting are
now brought together in one volume
for the American reader. The two
works, as Lewis Jacobs points out in
his introduction, "can in no way be

considered in the category of manuals
which teach movie making in twelve
easy lessons. Nor are they intended for
the amateur film hobbyist — although a
knowledge of the contents of Pudovkin's
books can greatly improve his work."
Pudovkin's discussions are largely on
a very high theoretical level. High con-
cepts of creative editing and film
rhythm run through most of them.
Your reaction to theory will determine
your feeling about both books, which
have had — and continue to have — a
wide influence among professionals
here and in Europe.

■ The History of Photography, by
Beaumont Newhall; 256 p., illus., cloth,
$5.00; The Museum of Modern Art, 11
West 53rd Street, New York 19, N. Y.

This latest history of photography
outlines its evolution from 1839 to the
present day, both as a technique and
as an art, against a background of so-
cial and economic forces. It discusses
everything from Schulze's observations
on the light sensitivity of silver salts
to the esthetics of color photography.

Much of the interest of the volume
for the layman lies in its 163 reproduc-
tions. Here is work by Daguerre, Nadar,
Brady, Stieglitz, Steichen, Strand,
Sheeler. Man Ray, Weston, Adams,
Evans. Salomon, Cartier-Bresson and
many others. The standards of the
early workers turn out to be surpris-
ingly high.

■ 16mm. Sound Motion Pictures, A
Manual for the Professional and the
Amateur, by William H. Offenhauser,
jr.; 592 p., cloth, $10.00; Interscience
Publishers, Inc., 215 Fourth Avenue,
New York 3, N. Y.

This is a handbook that will be of
greater value to the professional pro-
ducer in 16mm. than to those who are
strictly amateur. However, the volume
should be of real aid to those who con-
template entering the commercial
16mm. field; it contains valuable data
on the details and performance of pro-
fessional equipment, together with tech-
nical standards and measurements re-
lating to the performance of the equip-
ment, particularly in the fields of sound
recording and reproduction.

The chapters on television and on the
operations of a film laboratory are
among those which will greatly inform
the amateur concerning the technical
aspects of 16mm. commercial filming.
A selected bibliography and appendix
include the American Standards Asso-
ciation (ASA) nomenclature for mo-
tion picture and laboratory work.

MOVIE MAKERS

153

CloseupS— What filmers are doing

Films seen in the cine section of this
year's Tops In Photography show, held
last month at New York's Hotel Statler,
included A Few Trees, Please, by
George Mesaros, FACL; Menemsha,
1949 Ten Best winner by Jose Pavon,
and Hurry Call, Metropolitan Motion
Picture Club contest winner by Joseph
J. Harley, FACL, vicepresident of the
Amateur Cinema League.

John R. Hefele, ACL, president of
MMPC, was in charge of the motion
picture division of the show. He was
assisted in the presentation by Frank
E. Gunnell, FACL, Raymond Moss,
ACL, and Mr. Harley. The Tops show
is sponsored by the Metropolitan Cam-
era Club Council, a federation of New
York area still groups.

The joy of sailing for Europe the end
of last month was somewhat dampened
for Mrs. E. B. Kellam. ACL. of Los
Angeles, when she discovered, too late,
that she would have to turn in two
long-bought tickets for South Pacific,
the sellout musical. Before leaving Los
Angeles, Mrs. Kellam's film, Amazing
Guatemala, was featured at a benefit
screening held at the city's Ebell Club.

Also Europe-bound was Eugene H.
Millmann, ACL, of Milwaukee, who
was flying with a contingent of the
Milwaukee Catholic diocese on pilgrim-
age to Rome for the Holy Year.

People and Pictures: One Summer
Day, 200 foot 8mm. Maxim Award
winner for 1949, produced by contest
tyro Glen H. Turner, ACL, of Spring-
ville, Utah, has been seen by more
than 2100 persons in its Utah area
since December, 1949. . . . Crystals
While You Wait, 16mm. Kodachrome
Ten Best winner in 1948 by Joseph J.

Union Pacific Railroad

ARTHUR E. STODDARD, president of Union Pa-
cific Railroad, studies MOVIE MAKERS for Sep.
tember, 1949, which carried Walla Walla rail-
fan filming story made on UP consist.

Harley, FACL, has been blown up to
35mm. Technicolor, renamed Crystal
Clear, and has been given 4000 theatri-
cal screenings before 1,250,000 in the
United States and abroad.

People and Places: John V. Hansen,
FACL, League President, will head
west again this month to the National
Parks area for a summer of filming.
. . . Leonard Stuttman, ACL, recently
graduated from Michigan State Uni-
versity, has the sights of his new Filmo
70-DA trained on Alaska, where he
hopes to produce a documentary saga
of the Sockeye salmon. . . . Othon Goetz,
ACL, of Chicago, late award winner in
the Windy City's Metro Movie Club
annual contest, passed through New
York recently on his wedding trip.

Something new in the way of subject
matter sources turned up recently in
two new films by Timothy M. Lawler,
jr., ACL, and Mrs. Lawler, of Kenosha,
Wise. Inspiration for one was drawn
from Boecklin's famous painting, Isle
of the Dead. Under the same title, the
producers have creatively gathered to-
gether material shot in the Badlands
and Yellowstone — in which murky haze
and low key lighting predominate — to
interpret one art form in terms of an-
other.

The Lawlers' second picture is
called Pastorale and is based on Bee-
thoven's symphony of the same name.
The pictorial treatment here is a more
direct one, but the provocative pairings
of scene and score show a keen sense
of cinematic values and musical aware-
ness.

Things-To-Come Note: Major John
T. Phillips, ACL, serving with the
United States Air Force in Germany, is
making a film of a rocket trip to Mars.
With challenging defiance to the laws
of perspective, the movie will mix hu-
man beings, animated figures, real and
miniature sets, and a celestial cyclo-
rama of deep blue fabric studded with
sequins.

Star of the production, of course,
will be the space ship itself. Present
plans call for a streamlined hull 31
inches in length and 11 inches across
at the widest point. From inside, a
small electric fan will force streams of
white smoke through the rocket tubes.
Narrow strips of red cellophane, at-
tached at the tube ends and illuminated
from within the ship by tiny flashlights,
will simulate flames mingled with the
roaring smoke streams. . . . The film's
ending, says Major Phillips, has an
O. Henry twist, leaving the subject open
for a possible sequel — probably atomic.

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154

MMPC Gala program The seventeenth annual Gala

Show of the Metropolitan
Motion Picture Club. ACL, will be presented on Friday
and Saturday evenings, April 21 and 22, at Hunter Col-
lege Playhouse, Park Avenue at 68th Street, in New York
City.

Scheduled for screening are My Trip to South America,
by Harry Groedel, ACL; Woman's Work is Never Done,
club novice contest winner, by Seymour Kamen. ACL:
Tumbling Waters, 1949 Movie Makers Honorable Men-
tion winner, by Leo J. Heffernan, FACL; One Dinar
More, 1949 Honorable Mention winner, by J. N. Unwalla.
of Bombay, India; The Witch Cat, 1949 Ten Best winner,
by William A. Thomas, ACL, of Buffalo; Jones Beach,
1949 Ten Best and club general contest winner, by
George Mesaros, FACL.

Tickets for either evening are priced at $1.35 tax in-
cluded. They may be obtained from Harry Groedel,
Room 4108, 350 Fifth Avenue, New York 1, N. Y.

Miami party The first annual banquet of the Miami
Movie Makers Club. ACL, featured a
presentation of life membership in the club to Ralph E.
Gray, FACL. in recognition of his abilities as a movie
maker and his efforts on behalf of amateurs everywhere.
Ernest L. Foss, public relations director for Pan-American
World Airways, was guest speaker, taking as his topic the
rights and freedoms of amateur movie makers.

Tony Garnett, of the Miami Herald, and Al Poland
judged the club contest, selecting Dr. J. M. Girard. ACL,
for first place with / Can Dream, Can't 1? Seminole In-
dians, by James Elliott, and Emergency Operation, by
Gaston P. Wautier, ACL, tied for second place, with
Erwin Gayle filling third place for My Curly Hair.

Visiting guests on hand for the gala occasion were
George Mesaros, FACL, and Mrs. Mesaros, of Long Beach,
N. Y-, and George Merz, ACL, and Mrs. Merz, of All-
wood, N. J.

Al M. Hauser

The people, plans and programs of

amateur movie groups everywhere

S telling

FOND OU LAC MOVIE MAKERS, ACL, at annual dinner are (I. to r.) Al-
fred Pape, vicepresident; Ofhon Goetz, ACL, guest speaker; Gerald
Holzman, ACL, president, and Gilbert Giebel, ACL, program chairman.

SAN JOSE MOVIE CLUB diners (I. to r.) are Nestor Barrett, president;
Mrs. Barrett; Vincent Hunter, FACL, guest speaker, and Mrs. H. Rhoten.

Maxim winner in N.Y.C. The first public screen-
ing in the New York area
of One Summer Day, 1949 Maxim Award winner by
Glen H. Turner, ACL, of Springville, Utah, will be pre-
sented by the New York City 8mm. Motion Picture Club
on the evening of Friday, May 5. at the Hotel Statler.

The film is featured on the club's twelfth annual Guesl
Night program, which also includes the Ten Best award
winners — Storm Due, by Francis J. Barrett, of Seattle,
and The Raggedy Man, by Andy Potter, of Sherman
Oaks, Calif. — as well as other outstanding 8mm. films.

Tickets, which include refreshments following the
screen program, are priced at $1.50 each, tax included.
They may be obtained from J. F. Hollywood, FACL, 65
Pine Street, New York 5, N. Y., or Brit Boice, 210 Lincoln
Road, Brooklyn, N. Y.

Golden Gate birthday The Del Mar restaurant in

San Francisco was the scene
recently of a banquet celebrating the first anniversary
of the Golden Gate Cinematographers. ACL. During the
course of the past year the club has nearly doubled its
membership. A diversified entertainment program was
offered the assembled members and their guests, includ-
ing a ladies' hat trimming contest by the men present,
the contestants being required to model their own crea-
tions.

Officers for the coming year were installed at the din-
ner. A. V. Brady, ACL, is president, with A. Hauchildt
vicepresident. C. L. Wortman assumes the duties of secre-
tary and A. W. Balzarini those of treasurer. A. Theo.
Roth. ACL, continues as publicity chairman.

Rochester session Hick Moore, of the Rochester
Cinema Laboratory, was guest
speaker at a recent gathering of the 8mm. Movie Club
of Rochester, N. Y., on the topic, The Professional Talks
to the Amateur. Two instructional films completed the first

MOVIE MAKERS

155

half of the evening. How to Make Titles
and Yesterday, Today and Tomorrow,
the latter being sound on film.

The balance of the program was giv-
en over to the screening of Squeaky's
Kittens, by Walter Bergmann. FACL.
and New York Calling, bv Frederick G.
Beach, FACL.

Long Island meetings Midwin-

t e r ses-
sions of the Long Island Cine Club.
ACL, featured studies of time-lapse
technique, as demonstrated in Orchid
Opening, and tri-dimensional color
slides, produced by M. W. Obermiller.
Screenings included Nantucket, by
Russell T. Pansie. borrowed from the
ACL club library, and Fam;ly Album.
a sound on color production by General
Electric Company, demonstrating meth-
ods of interior lighting.

Schenectady The Factual Film, a
discussion of docu-
mentary film technique and its relation
to the usual story or fiction type of
movie, was given members of the Movie
Division of the Schenectady Photo-
graphic Society. ACL. by Jack Glenn,
a director for March of Time. Mr.
Glenn emphasized the effect of the war
on the increased use of films in indus-
try and education.

San Jose installs Newly elected
officers of the
San Jose (Calif.) Movie Club were in-
stalled at a recent session. Harold A.
McDowell assumed the duties of presi-
dent and W. C. Ireland those of vice-
president. Mrs. Harold Rhoten con-
tinues as secretary. Emerson C. Owen
is treasurer and Earl Brisbin librarian.
Vincent Hunter. FACL. was the
principal speaker, who related the his-
tory of amateur filming from the be-
ginning to the present. The meeting was
also the occasion for awarding the an-
nual plaque, which went to Howard
Lederer for One Summer's Day. Fearn
L. Hobbs, ACL, won the one reel con-
test with an animated study. Three
Bears. Nestor Barrett presided at the
meeting.

Long Beach agenda Tlie current

year's activ-
ities of the Long Beach (Calif. I Cin-
ema Club were officially opened with
the installation dinner dance held in
January at the Houghton Park club-
house. Installing officer was past presi-
dent John J. Lloyd. ACL, who pre-
sented the gavel to the new president.
Howard Deri-. ACL. First vicepresident
and program chairman is Forrest Kel-
logg. ACL, with Frank Kallenberg as
second vicepresident. Fred Barber.
ACL, and Bob Ferris are treasurer and
secretary, respectively.

Subsequent midwinter meetings fea-
tured screenings of members* films and

a demonstration of the new Auricon
16mm. sound camera. Among the films
shown were 100 Years of Bathing Beau-
ties, by Mr. Lloyd; Film Flam, by Mr.
Kallenberg; Rose Parade, by Mr. Derr;
Sailing Day, by A. Warren Nash. ACL:
Vacation for Three, by Mr. Kellogg:
18,000 Miles by Air, by Norman Mar-
tin: Lake Henshaw, by Carlton Lay.
and Vacation, 1949, by Harold Schae-
fer.

The club cordially invites all local
and visiting movie enthusiasts to attend
meetings, which are held on first and
third Wednesdays. Interested persons
should write the president. Howard
Derr. at 6728 Lime Avenue. Long
Beach 5. Calif.

Fond du Lac dinner Tne second

annual ban-
quet of the Fond du Lac <Wisc.) Movie
Makers, ACL, held recently, featured a
talk by Othon Goetz, ACL. of Chicago,
who then screened three of his films.
Four Seasons in Canada, Her Heart's
Desire and From Canton to Canton.

Officers for the current year were in-
stalled at the dinner. Gerald Holzman.
ACL, was re-elected president, while
Alfred Pape was named vicepresident.
Larry Buehner resumed his duties of
secretary-treasurer. Gilbert Giebel, ACL.
was appointed program chairman and
Arthur Spieckerman chairman of the
activities committee. President Holzman
presided at the session.

Trenton birthday Members of the

Trenton (N.J.)
Movie Makers celebrated the fourteenth
anniversary of their founding at the
regular February meeting. Past presi-
dent R. James Foster was featured
speaker. He showed some of his color
slides of New Jersey and Pennsylvania
wildflowers. in addition to several films
that were screened.

Dallas elects Henry A. Alston
president, heads the
list of new officers chosen in a recent
balloting by the Dallas 8mm. Club.
ACL. H. J. Holan is vicepresident. with
Mrs. David L. Strachan as secretary
and M. T. Chadwick treasurer. F. A.
Clemens, jr.. continues as program
chairman, while Pauline Gibson is so-
cial chairman, and Mrs. W. D. Thorn-
ton is in charge of membership.

Walla Walla At a buffet dinner
held recently by the
Walla Walla (Wash.) Cinema & Cam-
era Club, ACL. newly elected officers
for the coming year were inaugurated.
Warren Goade, ACL, is the new presi-
dent, with Mrs. Delbert Hansen, secre-
tary, and Clarence Ramp treasurer.
Vicepresident in charge of programs is
Mrs. Frances Hawk, while Ben Wagner
and Gordon Faires are vicepresidents in
charge of membership and special proj-

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156

APRIL 1950

ects, respectively. Al Beck is chairman
of the movie section, with Reid Greit-
hurst and Mrs. F. Ross chairmen, re-
spectively, of the salon print and slide
units.

Prize winning films screened at the
dinner were Scandinavian Countries
and Europe Today, by Dr. C. J. Johan-
nesson; Western Wild Life, by Frank
E. Gunnell, FACL; Give and Take,
group production of the Seattle Ama-
teur Movie Club, ACL; Escape, by
Francis Barrett, and Ice Follies, by
Oscar H. Horovitz, ACL.

N. Y. Cine group Louis Bayarsky,
ACL, was re-
elected president of the New York Cine
Club of the Deaf, ACL, at a recent bal-
loting, along with Bernard Gross, vice-
president. George Doone replaces
George Geltzer in the position of secre-
tary-treasurer. The club celebrated its
first anniversary during January.

Hamilton ballot 4 new cons.titu"

tion was ratified
recently by members of the Hamilton
Amateur Movie Makers, of Canada, at
which time a nine man board of direc-
tors was elected. The directors in turn
selected the officers for the current club
year. Gerald F. Robinson, ACL, con-
tinues as president, with J. Hill as vice-
president and program chairman. M.
Mills is secretary and Mrs. R. Britton
treasurer. Publicity will be handled by
Harry Beube, ACL, and membership
by T. Tilbury. Technical adviser is R.
Dorgovel, while V. Kaufman is contest
chairman. Frank Bliss was chosen a
board member.

Oak Ridge Lighting for Effective
Movie Making was the
subject of a demonstration presented
before members of the Oak Ridge
(Tenn.) Cinema Club by Vincent
Moore. On the same program, mem-
bers screened their Christmas films and
discussed them from the point of view
of lighting problems.

Franklin County Two ACL club

library films,
Hail, British Columbia!, by Leo Hef-
fernan, FACL, and Magic Stairway, by
Margaret and Harlan Webber, ACL,
furnished a stimulating evening recently
for the Franklin County Camera Club,
of Greenfield, Mass. More than fifty
persons, including a number of mem-
bers of neighboring Charlemont Cam-
era Club, attended the screening. An
open discussion of movie making tech-
niques followed.

KalamaZOO A recent meeting of
the Kalamazoo Movie
Club featured a demonstration by Carl
Ritter of props needed for various trick
photographic effects. Following this, a
film by Roger Lorenger based on the

WANT TO JOIN A MOVIE CLUB?

Write to the ACL for the address
of the club nearest you. If there is
no club active in your community,
we'll send you free a detailed bul-
letin on how to get one going. Ad-
dress: Clubs, Amateur Cinema
League, 420 Lexington Avenue,
New York 17, N. Y.

Halloween motif was presented, fur-
ther exemplifying points in Mr. Ritter 's
discussion. Also screened was a color
film of the 1949 Shrine convention pa-
rade in Chicago.

John Folkema, of Grand Rapids,
president of the Michigan Film Coun-
cil, addressed the group on the subject
of the annual spring convention to be
held at Holland, Mich., during the
famed tulip festival.

St. Louis show The Amateur Mo-
tion Picture Club
of St. Louis, ACL, recently sponsored
an old time movie night, inspired by
the success of a similar venture of the
Walla Walla (Wash.) Cinema & Cam-
era Club, ACL, last year. Feature of
the old time films was Son of the Sheik,
starring Rudolph Valentino. A barber
shop quartette and appropriate costum-
ing of members of the committees com-
plemented the screen fare.

Calling their show The Old and The
New, the latter class was made up of
Minnesota State Fair, by the Min-
neapolis Cine Club, ACL; Ice Follies,
by Oscar Horovitz, ACL; Doghouse
Blues, by Earl H. Sparks, ACL, and
Escape, by Warren Doremus, ACL,
1949 Ten Best winner.

Albany slate A complete listing
of activities for the
first half of the current year has been
made available by the Amateur Motion
Picture Society of Albany, ACL, start-
ing in January with tips on trips by
Esther Cooke, ACL, and Elizabeth Bus-
sey, and ending with the annual ban-

quet at the Aurania Club on June 6.
The intervening sessions will offer a
lecture-demonstration of filming chil-
dren, by Freida Tierney and Art Kem-
nitzer; a ladies' night, under direction
of Rose and Mary Robilatto; a demon-
stration of fades, wipes, dissolves and
other tricks of the trade, by Dr. Irving
Vies and Lou Vella; Schenectady
night, when the neighboring club brings
its annual program to Albany; a men's
night, under chairmanship of R. A.
Dechene, ACL, and a titling session,
when the club project will be finished.

Cincinnati show J Herbert Heg-
er, veteran pho-
tographer and naturalist, provided the
Cincinnati Movie Club with a lively
and informative evening when he dis-
cussed his experiences while Park Nat-
uralist with the National Park Service
at Yellowstone and Grand Tetons. He
illustrated his talk with color films.
A question and answer period followed
the screening.

Richmond dinner The Richmond

(Calif.) Golf
Club was the scene of a dinner honor-
ing the three recent winners in the
annual contest of the Richmond Movie
Camera Club. Bob Buckett captured
first place with My Private Life. Run-
ners-up in order were A Day on the
Farm, by Edna Hunting, and Party
Line, by Grace and George Williams.

Brazilian contest The first na-
tional amateur
movie contest sponsored by Foto-Cine
Clube Bandeirante, ACL, of Sao Paulo.
Brazil, was concluded recently with a
gala showing in the auditorium of A
Gazeta, one of Brazil's leading news-
papers. A capacity audience, including
standees, viewed the winning films.

First award went to Estanislau Szan-
kowsky for Haras Jaberave, which also
won the Wolff Cup. Estudos, an experi-
mental film by Thomas J. Farkas, ACL,
and Luiz Andreatini. won a special

Bernard Gross

LOUIS M. BAYARSKY, ACL, president of New York Cine & Camera Club of the Deaf, holds
special cake for first birthday party. Shown with him are other officers of the club.

MOVIE MAKERS

157

IN KANSAS CITY, re-elected officers of the
8-16 Home Movie Makers are (I. to r.) Harold
Lyon, vicepresident; John C. Sherard, presi-
dent, and Robert C. Davis, secretary-treas.

award and the A Gazeta Cup. Vamos
Pescar no ltapura? was judged the
best sports film and was awarded the
A Gazeta Esportiva Cup. Judges in-
cluded B. J. Duarte and Carlos Ortiz,
newspaper film critics, Alfredo Vascon-
cellos, technical adviser, and Antonio
da Silva Victor, club motion picture
division chairman.

Johannesburg

A recent meeting
of the Amateur
Cine Club, ACL, of Johannesburg,
South Africa, was devoted to the screen-
ing and rating of films for the annual
competition. The film program was led
off by Traveler s Treasures, by V. A.
Daly, which was followed by The Tiger
and the Tub, by B. T. Smith; Cairo,
by Bob Pollak; Off to the Mountains,
by R. L. Harper, and African Riviera,
by Arland Ussher.

Ottawa teaches Members of the
Ottawa Cine
Club, in Canada, brought the old year
to an end with a screening of the club
produced demonstration film on light-
ing problems, with a panel discussion
of the film and the subject following.
To complete the session, members were
entertained by Willie's Woes, 400 feet
of 8mm. black and white, produced by
the Edmonton Cine Club.

Easton ballots Election of officers
for 1950, recently
held by the Easton (Pa.) Click-It
Club, ACL, resulted in the presidency
going to Paul Stull, with Renton Gar-
ren named vicepresident. Sterling Genua
continues as secretary-treasurer.

Chile Contest Results of the na-
tional contest for the
five best films of 1949, sponsored by
Cine Club Amateur de Chile, ACL, have
just been announced. They are, in the
order named, Andacollo, by Eberhard
Petzoldt; Viaje por Europa, by Dr.
Pedro Pena y Lillo; Una Tarde Tran-

quila, by Enrique Gundermann, ACL,
Estampas Surenas and Copahue, by Mr.
Petzoldt.

A dinner was held by the club at the
Old Inn to celebrate the end of the
group's activities for the year, at which
Andacollo and Una Tarde Tranquila
were projected.

Minneapolis A midwinter dinner
meeting of the Min-
neapolis Cine Club, ACL, featured a
talk on editing by Peyton Stallings,
director of the visual education depart-
ment, University of Minnesota, whose
film on polio, produced for the Sister
Kenny Foundation, was screened.

Three films by Carroll Michener,
ACL, were screened during the enter-
tainment portion of the evening, Cargo,
Old Man River Totes a Load and Red-
man Meets Whiteman. North Shore, by
Edwin L. Pearson, ACL, completed the
program.

New in Indiana A group of

twenty amateur
movie enthusiasts of Evansville, Ind.,
recently organized the Evansville Movie
Club. Edward Clark is president, with
R. L. Swope and H. F. Lamkuhl as
first and second vicepresidents. Denver
Kirkwood was chosen secretary and La-
verne Whitledge treasurer.

The road's to Rome

[Continued from page 137]

ST. MARY MAJOR

The Basilica of Sta. Maria Maggiore
is one of the largest religious structures
in the world. It stands on the Esquiline
Hill and is the principal of eighty
churches in Rome dedicated to the
Blessed Virgin. The building dates from
the 4th Century, when, legend tells us,
the Blessed Mother appeared to Pope
Liberius and a devout Roman patrician
telling them to erect a church in her
honor on a spot they would find covered
with snow. During the hottest part of
the Roman summer they found snow on
the Esquiline Hill and there traced the
outline of the basilica.

Like many of the earliest churches in
Rome, the basilica resembles more a
public building than a house of worship,
resulting from the fact that so many
were copied from Roman buildings and
temples. The chief distinction of St.
Mary Major's, aside from the relics of
the manger contained in St. Matthew's
Confession below the high altar, is the
beautiful ceiling, a gift of Alexander VI
(15th Century) and gilded with the first
gold brought from America.

ST. PAUL'S OUTSIDE-THE- WALLS

In the Ostian Way, near where St.
Paul was beheaded, stands the most
graceful of the four patriarchal basi-
licas, which was founded in 286 over the

apostle's tomb. The present edifice dates
from 1823, wben fire destroyed the origi-
nal building. Carefully kept lawns and
palm trees will lend themselves to
pleasing compositions of the impres-
sively colonnaded porch and wings. The
nearby monastery and cloisters, dating
from the 13th Century, should be in-
cluded in your pictures of St. Paul's.

ROAMING ABOUT ROME

Although you will no doubt visit many
more churches than the four great basi-
licas, let us leave them for a moment to
consider what other sights Rome offers
for your record. You will naturally shoot
some footage in the Piazza di Venezia,
one of the busiest squares in the city,
which harbors the Capitol and the Pa-
lazzo Venezia. In your coursings you
will come by the gardens of the Villa
Borghese, the famed column of Trajan,
Michelangelo's Piazza del Campidoglio
and the labyrinthine streets of the
Campo Marzio district to the Piazza
Navona.

Travel down the Via Veneto and Via
Tritone to Piazza Colonna ; there on the
right is Palazzo Chigi, where Mussolini
strutted his fretful hour. From here you
might continue on to Piazza Capronica.
then left to Piazza della Rotonda. Here
is the mighty Pantheon, Roman temple
dedicated to all the gods. Once converted
to a Christian church (as were many
pagan temples), it was later made the
mausoleum for the kings of Italy. Victor
Emmanuel II and Humbert I are buried
here.

The Theatre of Marcellus (200 B.C.) ,
fronting on busy Piazza Montanara.
should not be neglected, nor the teeming
streets leading from the Campo di Fiori,
Via della Scrofa and along the Via Ri-
petta. Here will be material to contrast
strongly and often incongruously with
the glories of antiquity. The old quarters
of the city, with their narrow cobbled
streets, will be found in the low-lying
land between the Pincio, the Quirinal
and the Capitol, on the one hand, the
Tiber on the other. A walk down the
Corso from the Piazza del Popolo is a
stroll backwards through the Renais-
sance, with the 15th and 16th Century
palaces and churches lining both sides.

THE ROMAN FORUM

Last but not least is the majestic
Forum Romanum, symbol of Roman
civilization. Once a market place for the
neighboring hillside villages, it became
later a public square with law courts,
temples, shops and a theatre. You pass
the Basilica Aemilia and go across the
Lacus Curtius to the Temple of Castor
and Pollux, with its three melancholy
columns catching the slanting rays of
the late afternoon sun.

Nearby Julius Caesar's body was
burned and Mark Antony fired the
crowd with his fervent oratory. A short
distance away flickered the sacred flame

158

APRIL 1950

FILMING IS FOR FUN

IN our awesome (and apparently rather old fash-
ioned) office dictionary, "fun" is defined as an
action from which one derives "sport, merriment
or frolicsome amusement." This brief dismissal of
such a sound and simple word impresses us as ( 1 )
limited in its outlook; (2) stuffy in its attitude, and
(3) as if it had been "penned" by Fun-Loving Tom
of The Rover Boys.

In our book, fun is what you get from doing some-
thing you enjoy doing. Like making amateur movies,
for example. "We would suggest further that fun is a
feeling which is enjoyed in various degrees, or levels.

There is, first, an essentially passive form of fun
which we define as relaxation. Those filmers who
enjoy this level of fun probably shoot a few pictures
when they feel like it, stop shooting when they feel
like it — and edit or title these pictures rarely, if at
all. They are not going to make very good movies in
this manner. But they are unlikely to care in any case.
The important point is that they are having fun.

A second level of fun in personal filming we define
with the word pleasure. It implies, surely, a more
active sense of enjoyment than relaxation, and the

rewards probably are relatively greater. For at this
level a movie maker is proud of his triumphs, puzzled
at his failures — and with increasing clarity he recog-
nizes their difference. He recognizes too that progress
comes with practice, ability with application, and he
derives pleasure from these disciplines as well as from
his improving pictures. He, too, is having fun.

The third and final level of filming fun we define
as creative accomplishment. It grows slowly from the
second level, just as the second level grows from the
first. Although difficult of definition, it is unmis-
takable when you see it, exhilarating beyond measure
when you achieve it. Here, surely, is the ultimate
degree of "what you get from doing something you
enjoy doing."

But here again the important point is that each
level of picture making is fun to those engaged in it.
It's simply a difference in degree. We suspect that
ultimately each filmer finds the level at which he gets
his desired degree of enjoyment. We do not propose
to push him beyond that point. But we are always
eager to help him when he wants to heighten his film-
ing fun.

THE AMATEUR CINEMA LEAGUE, Inc.

Founded in 1926 by Hiram Percy Maxim

DIRECTORS

John V. Hansen, President
Ethelbert Warfield, Treasurer

C. R. Dooley
Ralph E. Gray
H. Earl Hoover

Joseph J. Harley, Vice President
James W. Moore, Managing Director

Harold E. B. Speight
Stephen F. Voorhees
Roy C. Wilcox

The Amateur Cinema League, Inc., sole owner and publisher of
MOVIE MAKERS, is an international organization of filmers. The
League offers its members help in planning and making movies. It
aids movie clubs and maintains for them a film exchange. It has
various special services and, publications for members. Your member-
ship is invited. Six dollars a year.

AMATEUR CINEMA LEAGUE, Inc.. 420 LEXINGTON AVE.. NEW YORK 1 7, N. Y.. U. S. A.

tended by the Vestal Virgins. Off to the
west towers the Capitol, in front of it to
the right is the Arch of Septimus Seve-
rus, while to the east a portion of the
Colosseum can be seen silhouetted
against the sky beyond the triumphal
arch of Titus.

NORTH OF ROME

Venice and Florence are both impor-
tant stopovers on most planned pilgrim-
ages, but with little time scheduled in
either. If you are lucky enough, how-
ever, to pass two to four days in Venice
or Florence, you will be able to get the
principal highlights that give to each its
own distinctive flavor.

QUEEN OF THE ADRIATIC

Nowhere in Venice is its ancient
heritage more in evidence than in St.
Mark's Square (Piazza San Marco),
with its magnificent 14th Century church
and Campanile. A view from the top of
the latter will remind you that Venice is
called "Queen of the Adriatic." If you
have a free afternoon, take a gondola
from the Piazzetta through the Grand

Canal to Santa Marcuola, then back to
the Ponte di Rialto. A few of the other
sights you will want to record include
the Doge's Palace, the fabled Bridge of
Sighs, the churches of Sta. Maria della
Salute and Sta. Maria Gloriosa dei Frari.
The latter is regarded as second only to
St. Mark's in beauty.

CRADLE OF THE RENAISSANCE

Florence, the true cradle of the Renais-
sance, was the birthplace of more of the
giants from that fabulous period than
we have space to list. Among her most
famous sons were Michelangelo, Dante,
Petrarch and Savonarola. Here the pow-
erful Medici family grew in wealth and
influence. Their magnificent tomb, con-
ceived and built by Michelangelo, should
definitely be seen and filmed.

The cathedral, with its impressive
bronze doors (so glowingly described by
Michelangelo as worthy of the gates of
Paradise) and its Giotto campanile; the
busy Galleria degli Uffizi; the ancient
gates to the city, such as Porta San
Gallo, Porta Romana and the like, are
other aspects of Florentine history you

may have time to include in your record.
(If you have a yearning for an old
fashioned American charcoal broiled
steak about this time, we recommend
the Buca Lapi in Florence, reputedly
the only place in Italy where such fare
is to be found.)

In closing, we'd like to enter a plea
and a couple of plans for the overall
treatment of your subject matter. Al-
though basically a record, your footage
can be given continuity (largely after
you return home) by variations of the
"letter" or the "diary" treatment. With
the former (shall we call the film Letter
from Rome?), someone at home is
shown reading the first of a series of
letters and cards from your touring
party. With the latter (Notes on a Holy
Year Pilgrimage?) , you should begin
the film showing someone in your party
on board ship or plane making the first
of a series of diary entries. With both
schemes, these written comments in ex-
treme closeups are then cut in as sub-
titles.

And so . . . Buon Viaggio and arrive-
derci!

"A 'MUST' FOR ALL AMATEURS-

The ACL MOVIE BOOK

8 OR 16"

*FRED EVANS, FACL, Founder President, Los Angeles 8mm. Club

FOR ALL 8MM AND 16MM FiLMERS